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XII Baltic Triennial
XII Baltic Triennial opens in Riga

Organisers: Contemporary Art Centre (CAC), Vilnius and kim? Contemporary Art Center, Riga in collaboration with Dailes Theater
Curator: Virginija Januškevičiūtė
Graphic design: Vytautas Volbekas
Head of production: Dita Birkenšteina
King of logistics: Edgaras Gerasimovičius

Artists in the exhibition: The Baltic Pavilion, Nick Bastis, Brud, Goda Budvytytė, Liudvikas Buklys, Antanas Gerlikas, Laura Kaminskaitė, Erki Kasemets, Mikko Kuorinki, Marcos Lutyens, Gizela Mickiewicz, Robertas Narkus, Valdas Ozarinskas, Bianka Rolando, Viktorija Rybakova, Vitalijus Strigunkovas, The Oceans Academy of Arts, Ola Valsijeva, The World In Which We Occur (Jennifer Teets and Margarida Mendes)

Opening: Saturday 7 May from 4pm to 5.30pm

The exhibition takes place at Dailes Theatre (Brīvības Street 75, Riga) from the 7th of May till the 11th of June during the plays staged by the theatre and one hour before they begin. Please find the schedule here:

Followed up by film and event programme

The exhibition reiterates the XII Baltic Triennial* as it opened in Vilnius on September 4, 2015, in a setting which despite some major divergences resembles its original venue. Just like the CAC in Vilnius, Dailes Theatre was built around the 1970s in the centre of a then-Soviet Baltic capital with the purpose of staging public presentations of new art. And just like the CAC, it more or less serves its original use to this day, despite them both having hosted other extra-curriculum events including car shows in the past. The Baltic Triennial in one and the other will also be somewhat the same**.

The Baltic Triennial was established in 1979 as a periodic exhibition of young Lithuanian and later Baltic artists expressing non-conformist spirit. With its twelve consecutive stagings, it has grown to become one of the major contemporary festival exhibitions in Northern Europe. Mainly showing emerging art the Baltic Triennial now offers a wide range of activities and artists from the Baltics and beyond.

*WHAT IS AN ARTWORK TODAY CAN BE SOMETHING ELSE ENTIRELY TOMORROW – this sentence, picked out from an interview with the artist David Bernstein, is at the very heart of the forthcoming Baltic Triennial. The idea is not new: how we perceive an artwork and what we expect of it changes in time. Things get forgotten, switched around and we end up looking at the wrong end of a musical instrument or playing a painting back to front. Sometimes, however, that’s on purpose: a composition decomposes, a song becomes a mood, a sculpture – a model, and a drawing – a letter. Are we then to talk about uses of art or rather about the art of uses? Or better skip art at all? Well, let’s find out.

This year’s Triennial will focus on the Baltic more than the previous editions, on the geographical region, its culture and the sea. It is a decidedly transdisciplinary event that, in its own motto of sorts („what is an artwork today...“) is mainly interested in the “something else“. The exhibition opens up a range of topics and their couplings including influence, exchange, materiality, and impact. It’s primarily an exhibition at the CAC, but the programme of events – talks, launches, presentations, classes and performances – spanning six weeks will expand behind the scenes.

– From the original press release; read the full text at

**“How to Clone a Mammoth: The Science of De-Extinction” is a book by Beth Shapiro. There she explains that cloning a mammoth is almost impossible as scientists can’t find a living mammoth cell as cold weather, light, bacteria damages the genome sequence in the cell thus it is impossible to read a full undamaged sequence of genome.

Thus the idea is not to clone a mammoth but to edit the genome sequence of an elephant cell in a dish in a lab, using new genome editing technology, and swapping out bits of elephant sequence for the mammoth version of sequences making a mammoth look and act more like a mammoth than like an elephant. The ultimate goal is re-establishing lost productivity of the tundra ecosystem. Except that this is not cloning and it’s not exactly re-establishing. “Mammoths and elephants have approximately 99 percent identical genomes. If we are talking about changing a few genes here and there to make them better adapted to living in the cold, I think we are talking about preserving elephants,”

Said Beth Shapiro

– From Valentinas Klimašauskas’ How to Clone a Mammoth (in Three Voices and with a Fisherman‘s Exaggeration) or The Science of De-Extinction in the Economy of Clicks, to be read at 4pm on the day of the exhibition opening, just like in Vilnius few months earlier

Supporters: Ministry of Culture of the Republic of Latvia, State Culture Capital Foundation, Riga City Council, Lithuanian Council for Culture, The Ministry of Culture of the Republic of Lithuania, Frame Visual Art Finland, The Boris and Inara Teterev Foundation, VKN, BIRZĪ, Valmiermuižas alus, Gardu Muti, Rīgas Laiks, Delfi.

Special thanks: LETO gallery, Warsaw; MuKHA, Antwerp; Vleeshal, Middelburg; Gaspar's restaurant, Vilnius; Irve, Riga; Baltic Pavilion; Madara Bārtule, Māris Bišofs, Neringa Bumblienė, Vytenis Burokas, Renata Dubinskaitė, Ieva Dzintare, Giedrė Genevičiūtė, Kaspars Groševs, Tomas Grunskis, Yi-Ping Hou, Kristiāna Kārkliņa, Vsevolod Kovalevskij, Gintaras Kuginys, Andris Landaus, Harita Maniņa, Mindaugas Masaitis, Salomėja Marcinkevičiūtė, Nicholas Matranga, Dmitrij Matvejev, Renata Mikailionytė, Viktoras Musteikis, Elena Ozarinskaitė, Barbara Prada, Bartoš Polonski, Dairis Putniņš, Indra Rubene-Vilipsone, Rimas Revinskas, Klinta Roga, Urtė Milda Širvinskaitė, Eglė Trimailovaitė, Gintautas Trimakas

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A Million Lines. XII Baltic Triennial opens in Krakow

Opening: Wednesday 25 November at 6 pm at Bunkier Sztuki Contemporary Art Gallery, Kraków

Curators: Virginija Januškevičiūtė and Aneta Rostkowska
Exhibition design: Mateusz Okoński
Graphic identity: Vytautas Volbekas

Artists: Wojciech Bąkowski, Nick Bastis and Darius Mikšys, David Bernstein and Styrmir Örn Guðmundsson, Māris Bišofs, Brud, Magda Buczek, Marek Chlanda, Beth Collar, Valentina Desideri and Céline Condorelli, Dina Danish, Kipras Dubauskas, Michał Gayer, gerlach en koop, Antanas Gerlikas, Łukasz Jastrubczak, Laura Kaminskaitė, Erki Kasemets, Yazan Khalili, Mikko Kuorinki, Žilvinas Landzbergas, Marcos Lutyens, Robertas Narkus, Rosalind Nashashibi, Bianka Rolando, Viktorija Rybakova, Algirdas Šeškus, Jay Tan, Nomeda and Gediminas Urbonas.

Organised by Bunkier Sztuki Contemporary Art Gallery (Kraków) and the Contemporary Art Centre (Vilnius), ‘A Million Lines’ forms one of several exhibitions as part of the XII Baltic Triennial. Scattered over a couple of years and across several countries (Lithuania, Latvia, Estonia and Poland), the guiding principle of the Triennial stems from an interview with the artist David Bernstein: ‘what if an artwork today can be something else tomorrow’. In the Kraków exhibition this journey towards ‘something else’¬– a vast field of yet unknown possibilities – is explored with the help of a single conceptual hinge, the idea of the IMAGINARY.

The title of the exhibition is a quote from a short story called Details (2002) by the British author China Mieville, which tells the tale of a woman who cannot help but see strange and frightening things in every smallest line, pattern, crack and crease in her surroundings. Mrs Miller – the protagonist’s name – seems trapped in a world of ‘details’ that constantly pull her imagination in one and the same direction. Living in fear of ‘details’ Mrs Miller never leaves her apartment and paints its walls white every couple of days in order to stop the cracks from reappearing. The world beyond those walls – a street or, worst of all, a field of wheat – is an unbearable sight, a portal, where the other realm takes over through ‘a million little bloody edges, a million lines’. Despite her plentiful visions, Mrs Miller’s story can be read as a cautionary tale about an imagination that is controlled by external forces – in other words, about a total lack of one.

The realm of the Imaginary – a realm that actively intervenes into ‘reality’ and modifies it – is a line of inquiry pursued by the Lithuanian philosopher Kristupas Sabolius. One idea that he often returns to in his work is how in our society, with the introduction of ‘attention economy’, the time of consciousness has become merchandise (a thought that has been brought up as well by writers such as Bernard Stiegler). Another is how one should be careful not to get trapped in someone else’s dream, especially one produced by ‘a dream factory’ – the industries of advertising, entertainment, and even culture. Precisely because the ‘dream factories’, Sabolius writes, ‘induce stereotypes of understanding and synchronise identities not by what we are but by what we dream’. And how synchronised, how standardised do we need to be?

Due to her relentless painting of walls Mrs Miller may also be seen as an allegorical guardian of the white cube of art, which historically is an experience designed as the ultimate portal of artists’ intentions but can be also understood as a space in which imagination can work in a more free way. And for Sabolius, intervention of the Imaginary is in fact a necessary agent for change. The exhibition, in this respect, is an exercise in learning and unlearning to take one’s own ideas personally and to dream collectively.

A book published for the occasion is Sabolius’ first major translation into both Polish and English.

The exhibition is organised as part the programme “Lithuania in Krakow: Cultural Season 2015”.
The exhibition is supported by the Ministry of Culture of the Republic of Lithuania, FRAME – Visual Arts Finland and Mondriaan Foundation.

Image: Krokuvos street, Vilnius

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XII Baltic Triennial at Contemporary Art Centre, Vilnius

Opening: Friday, September 4, 2015, 6pm
Press day: Wednesday, September 9, 2015, 12pm–8pm or by appointment

WHAT IS AN ARTWORK TODAY CAN BE SOMETHING ELSE ENTIRELY TOMORROW – this sentence, picked out from an interview with the artist David Bernstein, is at the very heart of the forthcoming Baltic Triennial. The idea is not new: how we perceive an artwork and what we expect of it changes in time. Things get forgotten, switched around and we end up looking at the wrong end of a musical instrument or playing a painting back to front. Sometimes, however, that’s on purpose: a composition decomposes, a song becomes a mood, a sculpture – a model, and a drawing – a letter. Are we then to talk about uses of art or rather about the art of uses? Or better skip art at all? Well, let’s find out.

This year’s Triennial will focus on the Baltic more than the previous editions, on the geographical region, its culture and the sea. It is a decidedly transdisciplinary event that, in its own motto of sorts ("what is an artwork today...") is mainly interested in the "something else". The exhibition opens up a range of topics and their couplings including influence, exchange, materiality, and impact. It’s primarily an exhibition at the CAC, but the programme of events – talks, launches, presentations, classes and performances – spanning six weeks will expand behind the scenes.

Exhibition guide
Map of exhibition

Some keywords:


The public programme of the opening weekend will include a lecture-concert on the Suprematist theory of time by artist Perrine Bailleux (as a tribute to last year’s exhibition by Dexter Sinister); a screening of Temple Operating System by Terry Davis organised by Warsaw-based collective BRUD; and the premiere of Lithuanian curator and filmmaker Gerda Paliušytė’s film, ‘The Road Movie’.

Throughout September and October the programme of events will continue with BRUD’s crypto-currency fairytale; lectures by Post Brothers and Adam Kleinman; a series of phone conversations curated by Jennifer Teets and Margarida Mendes (‘The World In Which We Occur’); advance presentations by The Baltic Pavilion created for the 2016 Venice Biennial of Architecture; parallel educational programmes developed with artists Gediminas and Nomeda Urbonas (part of the Zooetics Pavilion of Ballardian Technologies presented at the exhibition in collaboration with Kaunas University of Technology), Jay Tan, Perrine Baillieux, The Oceans Academy of Arts and the CAC’s educator Audrius Pocius. A parallel series of lectures and seminars will be organised at Vilnius Academy of Arts.

For further information please email the CAC’s press office,

Curator: Virginija Januškevičiūtė
Architecture: Andreas Angelidakis
Graphic identity: Vytautas Volbekas with Maris Bišofs and Goda Budvytytė

The Triennial’s pilot programme in 2014 included opening up the CAC staff kitchen for public events, a semester of interdisciplinary seminars at Vilnius Academy of Arts (both co-organised with Aurimė Aleksandravičiūtė and Jonas Žakaitis), the exhibition 'Work-in-PrOgress’ arranged by Dexter Sinister and their incantation/talk ‘The Last ShOt Clock', and the group exhibition 'Prototypes'. After the Triennial closes in Vilnius on October 18, 2015, its other iterations will be presented in various scales and formats at Bunkier Sztuki Contemporary Art Centre in Krakow (November 25, 2015 – January 31, 2016, curated with Aneta Rostkowska) and "kim?" Contemporary Art Centre in Riga (March 18 – May 8, 2016). The project will conclude with a gathering on an Estonian island in the Baltic in the summer of 2016.

XII Baltic Triennial's website:
XII Baltic Triennial's Facebook page:


Pilot programme

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Curator: Virginija Januškevičiūtė

2014.X.17 – 2015.I.25

“Prototypes” is a pilot project of the XII Baltic Triennial and will consist of several events, publications and an exhibition in the façade window on the CAC’s upped floor, a space that until now served as an office. Visitors of the CAC, who have been opening the door of this office throughout the years hoping for the exhibition to continue behind it, will now instead of a regular door find a new one, designed by Viktorija Rybakova, and behind it – a panorama of Vilnius Old Town, drawings by Maris Bišofs and Antanas Gerlikas and a film by Piotr Bosacki. By the end of 2014 the wall that holds this rotating door will disappear, and the door itself will become a four-fold partition. If various instruments and technologies are once in a while labelled state-of-the-art, the exhibition “Prototypes” turns this formula around and asks if a contemporary artwork could perhaps also be an instrument, a model or a conceptual device outside the realm of art. The exhibition continues beyond the CAC: an installation by Liudvikas Buklys is hosted by Salomėja Nėris’ Gymnasium on Vilnius Street. Some of the lightboxes designed by the artist will be visible from the street, but one will also be able to see the installation inside the school by visiting between 4pm and 5pm on Tuesdays and Thursdays.

The exhibition’s first event – a performative presentation “The Hole Idea" by Post Brothers that explores the qualities of a portable hole as a conceptual device – is scheduled at 7 pm on Friday, October 17, at the CAC Cinema.

For the programme of events of “Prototypes” and the Triennial please follow updates on the CAC’s website. The main exhibition of the XII Baltic Triennial will open at the CAC in the Autumn of 2015.

Next in the event programme of the “Prototypes” project is a series organised by CAC together with curator and writer Jennifer Teets titled “Pharmacokinetics of an Element.” The series takes place over two weekends: November 8–9 and November 28–29 2014. Consisting of readings, discussions, talks and trips, this series aims to build novel methods for approaching new materialisms, the current climate change debate, and wastes and fluids of bodily selves, both human and machinic. This series will explore the benefits and limitations to new modes of thinking about and through material.

Events will be hosted together with art theorist, Doctor of cultural studies Eglė Rindzevičiūtė, currently associated with Sciences Po (Institute of Political Studies) in Paris, and London based art historian and cultural critic TJ Demos whose forthcoming book is dedicated to art and ecology.


Maris Bišofs, Riga-based artist and illustrator, created a series of illustrations drawing from two short excerpts from an interview with the artist David Bernstein: “Performance for me is about recognising the presence of time and life in everything. (...) And in the future anyway, our relation to art will most likely change in unforeseeable ways. And so everything that we know now about a work could be forgotten, appropriated, and transformed.”


While Piotr Bosacki, author of the animations film “Dracula”, maintains that the film is a comedy, in it lies an attempt to explain how the world is built. Bosacki describes the “shape of man”, tapping here into an insightful analysis of the world of senses, a story based on the knowledge of physics, chemistry and biology, intertwined with his personal confessions.


The exhibition also contains a drawing by Antanas Gerlikas from his most recent series. According to the artist, he is only using one element of academic painting – a pencil stroke – in this series in order to experience the phenomenon of mastery, or handicraft, but without the conventions that such mastery usually entails. So no realistic modeling of light, no copies of Antique statues, no representation, unless an eye itself draws an image or another in the chaotic lines. The artist’s hand is motivated by his wish to recognise a moment where aesthetics and a gesture becomes one, when a character of the drawing suddenly changes, and one moment changes the whole.


The lightboxes that contain Liudvikas Buklys’ installation at Vilnius Salomėja Neris Gymnasium are replicas of an outdoor sign of one particular shoe shop in Vilnius. As basic as a school’s teaching curriculum, abstract and playful, placed in the school‘s corridors they introduce a link between the student‘s steps and the architectural marches of the building; also a link between the school and the street behind its windows and another street two blocks away, where the ‘original’ lightbox is found. Symbolically they also link the school with a range of activities that await when the school is over.

Illustration on the top of page: Fragment of Liudvikas Buklys' installation in Salomėja Neris Gymnasium. Photographer: Andrej Vasilenko.

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STAGING of Dexter Sinister’s “The Last ShOt Clock”,
a two-sided incantation/talk written to conjure a party inadvertently missed one year ago


Doors open 10:30pm
Event begins 11pm SHARP

Precisely one year past at the 55th Venice Biennial
As part of the joint Cypriot-Lithuanian pavilion
Which was titled big-O little-o, and equally little-o big-O,
Depending on your point of view (depending on your point of view)

We were asked to participate ‘as honorary Lithuanians’
By Raimundas Malašauskas, who assembled the whole show
In the Brutalist Palasport—a monumental sports hall with
A central court for basketball flanked by rows of concrete bleachers.

Our idea was then to hijack the court’s two opposing scoreboards
And turn them into dual clocks (though you’d never see both at once).
These clocks would count time not by means of normal decimal numbers,
But using big-Os and small-os, that binary character set.

We sent along instructions to the scoreboard’s manufacturer
To burn a microchip that would alter its usual function
And reprogram the system to display this maladjusted time,
Then christened it Work-in-Progress—in order to be continued...

Friday, June 20 at 6pm
OPENING of “Work-in-PrOgress”

An exhibition of work concerned with exiting regular modes of time arranged by Dexter Sinister


Works in the exhibition:

1. Kazimir Malevich, Sisters, 1910, oil on canvas. With thanks to Rūtenė Merkliopaitė and Perrine Bailleux.
2. Bruno Munari, Tetracono, 1965, multiple. Each cone spins at a different speed, collectively transforming from green to red over 18 minutes. Private collection.
3. Alighiero e Boetti, Contatore, 1967, multiple, edition of 123. Private collection.
4. Giuseppe Penone, Progetto per Rovesciare i propri occhi (To reverse one’s eyes), 1970. Documentation of the action by the artist. Photo Courtesy Archivio Penone.

5. Clock system diagram, Jespersen, J., and Fitz-Randolf, J., From Sundials to Atomic Clocks, 1977, silkscreen on wall.
6. Muriel Cooper, Self-portrait with Polaroid SX-70, c.1982, video imaged and printed at the Visible Language Workshop, MIT. Courtesy of Mass. College of Art & Design.
7. Stephen Willats, The World As It Is And The World As It Could Be, 2006, print on aluminium. Courtesy the artist and Victoria Miro, London.
8. Kazys Varnelis, The Last Shot, 2007–2008, oil on canvas. Courtesy of National Museum of Lithuania.

9. Photograph from the reverse of the instructions inside Ryan Gander’s multiple, Parallel Cards, 2009 (a standard set of playing cards printed on both sides).
10. Dexter Sinister, Naive Set Theory, 2009, proof print.
11. Dexter Sinister, Watch Scan 1200 dpi, 2010, postcard.
12. Dexter Sinister after Albrecht Dürer, Death and the Landsknecht, 1510, as reproduced on back cover of Bulletins of The Serving Library No. 1 (2011).

13. Dexter Sinister, MTDBT2F glyph, 2011, composite Risograph print of letters from the typeface Meta -The-Difference-Between-The-Two-Font.
14. Raimundas Malašauskas, Photo Finish, 2011, hologram.
15. Dexter Sinister and Erik Wysocan, Watch Wyoscan 0.5 Hz, 2013, reverse-engineered Casio digital watch by Halmos.
16. Dexter Sinister, advertisement for Watch Wyoscan 0.5 Hz, 2013, digital print. Photograph by Jason Fulford.

17. Microchip used to re-program scoreboards at Palasport, Venice, Dexter Sinister’s contribution to ‘oO/Oo’, the Cypriot-Lithuanian pavilion at the 2013 Venice Biennial.
18. Dexter Sinister, Work-in-Progress, 2013. Installation shot at Palasport, Venice, by Robertas Narkus.
19. Dexter Sinister, Poster for an Infinite Solstice Event, 2013, 35mm slide, light.
20. True Mirror, made by True Mirror Co., 2014.

21. Dexter Sinister, poster for Letter & Spirit, 2014, silkscreen print.
22. Dexter Sinister, Letter & Spirit, 2014, a program that runs a script, 16'06".
23. Angie Keefer, Fountain, 2014. Commodity futures indexes, video, transparent holographic screen, motion aftereffect. When markets rise, water falls forward; when markets sink, the fall reverses.
24. Dexter Sinister, Work-in-Progress, 2014, a pair of LED clocks programmed to tell the time identical to scoreboards adjusted at Palasport, Venice, one year ago.

XII Baltic Triennial

With thanks to
Valentina Pero
Artūras Paliulis
Francesca Bertolotti
Jürgen Galli
Jurgis Griškevičius
Élodie Royer & Yoann Gourmel
Gailė Pranckūnaitė

Supported by
Lithuanian Council of Culture
Vilnius J. Tallat-Kelpša Conservatoire

Dexter Sinister is the compound working name of Stuart Bailey (UK) and David Reinfurt (USA). David graduated from the University of North Carolina in 1993, Yale University in 1999, and formed the design studio O-R-G in 2000. Stuart graduated from the University of Reading in 1994, the Werkplaats Typografie in 2000, and co-founded the journal Dot Dot Dot the same year.

Dexter Sinister was originally set up in 2006 to model a ‘just-in-time’ economy of print production, counter to the contemporary assembly-line realities of large-scale publishing. Since then the name has variously referred to (1) a publishing imprint, (2) a workshop/bookstore on New York's Lower East Side, and (3) work produced for and often within art venues. They are currently setting up a longer-term institution called The Serving Library together with Angie Keefer.

Illustration: Dexter Sinister, Work-in-Progress, 2014–2013. Photograph by Robertas Narkus.

First events of the XII Baltic Triennial


Curators: Aurimė Aleksandravičiūtė, Virginija Januškevičiūtė and Jonas Žakaitis

Why are some ideas coherent and nice to think about, but useless when you want to get something done, while other ideas are contradictory and always out of context, but full of energy?

If on the one hand we have knowledge and society, then what’s on the other one?

Why do absolutely different people, academics and housewives, put their heads into exactly the same hole in a picture with palm trees?

HERE is a recent conversation with Antanas Gerlikas. In it he says something about art being a really good way to produce proof of things that you want to exist. This sounds like a really vague idea, like it could mean anything (which it probably could), but it stuck with us. There’s something basic about it, something that generally works; you come up with an example or a model, then you see how it affects the world around you, and then you modify the example accordingly. After a while of going back and forth some effects and some sensations that go with them become sort of stable. You end up with an instrument, or a sensory device, or an art work.

Antanas seems to have ended up with all three. His works will be exhibited at the kitchen of the CAC guesthouse on the weekends from the 15th to the 30th of March 2014, from 12 to 20 h.

Either Augustas Serapinas or someone else will meet you at the CAC ticket desk and show you the way to the kitchen.

The kitchen itself is worth seeing. It was painted in make-up color by Laura Kaminskaitė, illuminated and curved by David Bernstein and Sophia Holst; Viktorija Rybakova made a cabinet reminiscent of a tabernacle or a church, and Alisa Ozerkina dressed up a kitchen set in granite and leather.

Agata Erlacher will animate the kitchen for several dinners.

And last but not least, Paul Elliman will talk Detroit, letters and birds this Sunday, 18:30 h at the CAC Cinema. The event is generously supported by the British Council.


The XII Baltic Triennial will continue until the end of 2015.

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