“Though all works and sequence of works by Žygimantas Augustins have varied and clear ideas, they’re united by the exploration of uncertainty. This state has in all probability been skilled by everybody, and the artist ingeniously and wittily presents to take a look at the time and place the place we stay. I consider that each viewer is not going to solely discover their very own solutions to the questions we care regarding within the exhibition, however may even benefit from the masterful portray”, says Akvilė Anglickaitė, the curator of the exhibition.
The exhibition will likely be open till October 20.
“We all the time set excessive expectations for modern authors coming into the areas of the LNDM Vilnius Image Gallery, one of the vital vital of which is an authentic contact with the previous. Similar to the works of Patricija Jurkšaitytė exhibited right here a number of years in the past, the work of Žygimantas Augustins totally fulfills this situation. He’s a witty, persuasive writer who combines technical mastery with an attentiveness to the current, and sometimes to the previous within the current. It is uncommon to withstand and Ž. Augustine’s virtuoso mastery of (self) irony. I’m satisfied that this exhibition will turn out to be an actual occasion within the artwork area and can permit those that haven’t but found the Vilnius Image Gallery to find it”, says the director of the LNDM Vilnius Image Gallery, dr. Aistė Bimbirytė.
What’s faux?
Within the exhibition “Assure” Ž. Augustinas asks the viewers the query “Who am I?”. In any case, what might be extra true than your self, your physique, your expressions, your reflection? Apparently, the reply to those questions might turn out to be a sort of assure, however wanting on the works of Ž.Augustin, the comfy feeling of figuring out who I’m begins to vanish.
The artist transfers his pores and skin, muscle tissue, expressions first to on a regular basis, then to historic characters. The true “I” does not appear to stay, it turns into embodied in others, the photographs of “I” multiply and the one true picture not stays. In keeping with the curator of the exhibition, there may be creativeness, play, laughter, irony and the query that maybe certainty will not be crucial.
The traditional Greeks had discovered a partial resolution to such unanswerable questions. Those that entered the temple of Delphi, the place the oracle gave solutions to legendary heroes and mere mortals, have been greeted by three inscriptions: “know thyself,” “nothing an excessive amount of,” and a 3rd, the which means of which has been debated for 1000’s of years, clearly linking certainty with misfortune.
Photograph of the organizers/Žygymantas Augustinas, Government
In distinction to the traditional Greeks, in at this time’s world, uncertainty has acquired a damaging which means, and efforts are being made to take away it from all areas of life. “Assure” is a literal translation of the third inscription of the Temple of Delphi, which seems considerably paradoxically within the title of the exhibition.
Photograph of the organizers/Žygymantas Augustinas, Vēsinantis radio
Rewriting historical past – to create a greater and extra excellent world?
In one of many exhibition areas, Ž. Augustinas presents the viewers to maneuver to the sixteenth century. the palace of the rulers. However what the artist creates will not be an imitation or a replica of the previous. He creates a parallel actuality and on the identical time asks how the impression of the picture’s authenticity is created.
Photograph of the organizers/Žygomantas Augustinas, Pretending to be calm
Persevering with the sequence of portraits of Žygimantas Augustus, the artist follows within the footsteps of this ruler and takes on the function of a rewriter of historical past. He claims that “the love story of Žygimantas Augustus and Barbora Radvilaitė shouldn’t have ended the way in which it did.” Queen Barbora died early, and Žygimantas Augustas – the final male descendant of the Jogailaičiai dynasty – by no means had an inheritor. The artist units out to appropriate this, in his opinion, historic error and creates portraits of the son of Žygimantas Augustus.
Primarily based on the craniometric information of Barbora Radvilaitė and Žygimantas Augustus, Ž. Augustinas calculates the scale of the cranium of the supposed son and transfers their proportions to the portraits of the descendants. To be able to obtain even larger certainty, one of many portraits was painted with pigment, which Simona Rukuižaitė comprised of the muse stone of the palace of the rulers of the Grand Duchy of Lithuania.
Ž. Augustina makes use of historic narratives, as he says, “to create a greater and extra excellent world as attainable”. The act of rewriting itself is vital to him, not the actual fact.
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2024-05-22 08:49:47