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CAC Sculpture Yard
Curator: Kęstutis Kuizinas
The renovated CAC Sculpture Yard hosts the exhibition of sculptures by Antanas Gerlikas, Donatas Jankauskas, Žilvinas Landzbergas, Mindaugas Navakas and Pakui Hardward. The CAC Sculpture Yard is conceived as a new and changing creative space under the open sky for artists’ spatial initiatives. By establishing the Sculpture Yard the CAC is returning to the initial idea of the architect of the CAC building (the former Art Exhibition Palace, opened in 1968) Vytautas Čekanauskas, who was planning to assign this open area exactly for exhibiting sculptures. With the returned primary function this yard emphasizes the unity of the whole architectural ensemble, which is considered to be a valuable heritage object. It is not only a new exhibition space of the CAC, but also a new public space accessible for all people in the day time – an open city square in the middle of Vilnius’ old town.

CAC Sculpture yard is open every day from noon to 8pm.

Antanas Gerlikas
Constructions, 2016

These sculptural objects, first presented at the solo exhibition ‘Dunes’ by Antanas Gerlikas, are reconstructions of structures seen by the artist in his dream. They represent a monument to the voice from the dream, which invited to go up, and function as a road sign for communication with something, that is far away, high above in all other ways not here.

Donatas Jankauskas
Sneaker, 2016
Polystyrene, polurea

Donatas Jankauskas’ works often turn into anthropomorphic personages – anthropoids, created rephrasing the art of M. K. Čiurlionis or protagonists of the film ‘Planet of the Apes’, or other massive, zoomorphic figures, that have temporarily transformed many streets or buildings. The sculpture, which has found its place in the CAC yard – a lost sneaker of King Kong – has already been presented to the audience in the exhibition, organised by Modern Art Centre as a farewell to the cinema theatre “Lithuania”, and at the centre of creative industries ‘Coast’.

Žilvinas Landzbergas
Signboard, 2016
Steal net, tin

Steal net and tin sculpture, which embodies an abstract tool, similar to a trumpet or a nail, turned to the inscription ‘ŠMC’ (CAC), reminds the signboards, typical to the modernist architecture buildings of factories, which not only state the title of an institution, but also illustrate the works or products produced in that factory. This sculpture was created for the CAC exhibition ‘Random Rapid Heartbeats’, which took place at the Tallinn Kunsthalle in 2016 – an institution with a similar function as the CAC. For some hours it was exposed on the roof of the modernist kunsthalle, built in between the two World Wars, as a joke about the CAC “overtaking” the Tallinn Kunsthalle, and as a reminder about the community of two art institutions and two states.

Mindaugas Navakas
Make a way for a smaller one, 2017

The sculpture in the central part of the yard was made from various kinds of granite using contrasting techniques of surface processing: cutting and burning of huge stone pieces was combined with glazing the surfaces of boulders. Six-part sculptural composition, weighing more than 50 tones, creates a consonant architectural unity in the CAC yard. The mass of the work provokes the fantasy of viewers and speaks about the importance of the cathegory of size to the artist. The relations between the parts of the sculpture and rigorous materiality creates a playful contrast with the paradoxical and openly ironic title of the work.

Pakui Hardware
Inspirations, 2017
Engraved drawing on the Plexiglas, LED system, Austrotherm XPS polystyrene, aluminum profile, PVC print, transport belts, State Air Quality Control Station No. 0001

The installation by the artists’ duo, created specially for the air quality control station at the CAC yard, plays with tools of city advertising aesthetics and creates an ambiguous and slightly ironic invitation to get acquainted with new accessories of the future – various breath filters, protecting citizens from constant air pollution. The artists have used drawings of several filter patents and proposed some examples of the accessories of the future. Architects of the project: Ona Lozuraitytė and Petras Išora

Felipe Braga
Functional work #4 (day for night), 2015-2017
Concrete, wood, glass, window film

The continuous work by Brazilian sculptor Felipe Braga, originally displayed in the group exhibition “Unanimous Night” in Summer 2017, is a copy of Lina Bo Bardi’s original design of display easels created for São Paulo Museum of Art in 1968, covered with a perforated thermal insulation film. Alongside the architect‘s project, the work also reflects on a remark by Claude Lévi-Strauss from 1920, concerning the rapid changes in the cities of Latin America and how the superficial joyfulness of their rapidly erected neighbourhoods contrasts with the original urban environment. The blue-tinted film, commonly used on commercial buildings today, simultaneously reflects and filters the environment, transporting both authors’ ideas into the problematics of contemporaneity: the themes of gentrification, shallow planning strategies and dissolution of communities.

Maria Loboda
Public virtues – private vices, 2018
European beech trees, steel, crystals

Maria Loboda explores concepts of the transcendental and their manifestations within diverse belief systems, arcane objects, archaeology, architecture, religion and art. Her sculptures are puzzles, which consist of marks denoting experiences of transition and transformation. Maria Loboda creates riddles and enigmatic spaces that lead deep into the layers of forgotten historical narratives, and refer to the current state of things. Her sculpture for the CAC courtyard consists of such elements as the beech – one of the most archaic Northern trees, as well as steel, semiprecious stones, and notional water – all of which carry manifold references in ancient and modern mythologies. Their junction in the shape of the dysfunctional fountain in this courtyard of Vilnius riddle about a possibility to awaken the dormant or phantasmal vigours of this place.

Fernando Sánchez Castillo
Guernica Syndrome - Azor, 2012-2018
Aluminium, steel, bronze

This work by Fernando Sánchez Castillo is his characteristic intertwining of the parallels of history, politics and culture. The material used for this installation is not a random array of metals – it utilizes parts of Azor, the former yacht of Francisco Franco, a totalitarian dictator who governed Spain in 1939 - 1975, processed into irregular cubes of a similar volume by a recycling plant. Azor was used not only as a representational vessel and site for international negotiations, but also, in an attempt by later rulers of Spain, exploited for tourism, provoking controversial responses within the society.

By working with difficult historical and political themes, the artist looks for ways to not only commemorate painful and traumatic historical episodes, but also to test them in a new cultural vocabulary, to rethink the positions of specific events, figures and artefacts today. Referring to the famous painting by Pablo Picasso in its title, the work actually employs an opposite method than the one used by the painter – instead of revealing the scale of a painful event through the language of geometry, Castillo utilizes it to neutralize history, creating a flexible composition with undertones of absurdity. Although the work employs minimalist aesthetics characteristic to modern and contemporary art, its form is far from neutral.

The difficult historical and political origin of the material creates a complex piece – a problematic monument and a parody of it at the same time. Displayed in Vilnius, which, during World War II, was also a transit point for Franco's Blue Division – a unit of Spanish army volunteers and conscripts – Guernica Syndrome is a relevant and outspoken work, which allows to sustain the discussion of the working of totalitarian forces and the possibilities to recognize and subdue them in today's political climate.

Beatričė Mockevičiūtė
Asukas, 2019
Stainless steel

Beatričė Mockevičiūtė associates her creative work with the opportunity to get a feel of what in everyday life is often translucent and ephemeral. Apartment buildings adorned with sunbeam reflections or truck awnings blown about by the wind, though carefully crafted by man, are at the same time autonomous and unpredictable.

The Contemporary Art Centre (CAC) presents a part of the artist's ongoing project, ‘Asukas’, exhibited in the centre’s sculpture courtyard. The project was first launched in 2018 in the Lithuanian Composers' Union House, and later was also presented in the CAC reading room and terrace in 2019. The title of the series, “Asukas”, is a Finnish word meaning “resident”; in Mockevičiūtė’s work, it symbolises one of the translucent everyday characters that unites the architectural creations of Alvaro Aalto and Vytautas Edmundas Čekanauskas, urban surfaces and traces of light.

Augustas Serapinas
Chair for the Invigilator (white/sky blue), 2019
Painted wood, umbrella

“I am interested in the creation of alternative points of view” – Augustas Serapinas has said – “I want to bring about self-reflection for the art institution apparatus, and one part in particular: the invigilator. They are often in ‘the shadows’: once we are inside the exhibition, we do not pay attention to the invigilators and take them for granted”. Chair for the Invigilator is a series of elevated chairs based on those used by lifeguards on bathing beaches. Often of improvised design, they epitomise the pragmatic creativity admired by the artist. Serapinas’ chairs are intended for use by the exhibition’s invigilators: normally invisible in the crowd, they appear as if enthroned, bestowed with a theatrical status that allows them to survey the audience below. The artwork was commissioned for the 58th Venice Biennale “May You Live in Interesting Times” where it was first shown in 2019.

Robertas Narkus
Dèpendance, 2019
The artwork is made of used landing lights from the Vilnius Airport (VNO)

Vaiva Grainytė
Stars Full of Bacteria, 2019
Print on PVC canvas

Vaiva Grainytė’s Stars Full of Bacteria (2019) is the first text-based sculpture to be shown in the CAC Sculpture Yard. The poem-epilogue, written by the artist, writer, poet and winner of the Venice Biennial Golden Lion, forms part of her collection of poetry ‘Gorilla Archives’, published by the Lithuanian Writers’ Union Publishers in 2019. The piece becomes part of a temporary partition that was created after the demolition of a brick fence that separated the CAC Sculpture Yard from the courtyard of Mėsinių Street. The haiku, dealing with transformation and change and having acquired a sculptural body in this space, inherits extra layers of meaning: symbolically reflecting the act of demolition and waiting for the reconstruction of the CAC building, as well as depicting the situation of present time; a subject of constant change.

Exhibition is supported by Lithuanian Council for Culture and The Ministry of Culture of the Republic of Lithuania

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