The partnership of these two contemporary art festivals is part of the program of the Lithuanian season in France, the aim of which is to introduce the international audience to the Lithuanian contemporary art scene and its diversity.
This is already the second Kaunas Biennale partnership in France this year and the third in Europe. at the Lyon Biennale it presented the works of four Lithuanian artists, and currently the European Capital of Culture Tartu 2024 is hosting the “Magic Carpets” of the “Creative Europe” platform curated by the Kaunas Biennale. exhibition “Superorganism”.
“I joke with my colleagues that this year the Kaunas Biennale is not taking place in Kaunas, but in France and Estonia. Although in Lithuania we are more recognized as the organizers of the largest contemporary art festival, we have been implementing not only local but also international projects for several years, cooperating with operators of the contemporary art field throughout Europe. These are important experiences for our team, but it is even more important that we can contribute to the representation of Lithuanian artists in the world”, says Kaunas Biennale director Neringa Kulik.
About pleasure in a pleasure society
This year, “Chroniques” explores the concept of pleasure in modern society and delves into the influence of digital technologies on human emotional states, the body and interpersonal relationships. The festival program includes exhibitions, performances, concerts, virtual reality experiences and discussions for both the general public and art professionals.
In this medium of innovation and digital imagination, Aistė Ambrazevičiūtė will invite the audience to a garden of virtual plants, where digital technologies will intertwine with decorative art and architecture. Exploring the connections between natural beauty and the digital world, the artist will open a new perspective on the possibilities of contemporary art in her new work “Plantasia Lab”.
Emilija Škarnulytė, who penetrates beyond visible reality in her multi-layered films and installations, will present the existing work “Riparia” to the visitors of the “Chroniques” biennale – a visual journey along the Rhone River through Lake Geneva, which uses underwater sensors and photogrammetry techniques. The artist studies waterways and human impact on nature, raising questions about the past and future of our landscapes, exploring the depth of time and the invisible structures of geological formations, ecological and political systems.
Martyn Aleksa’s photo. /Sports group
In Maximilian Oprishka’s new installation Epique, viewers will be immersed in an audiovisual exploration of the aesthetics of war. Three screens will play slow-motion images of the explosions, massive shock waves turning into death traps resembling gold petals. Each screen will pulsate to a different soundtrack and together create an orchestral impression, tricking the senses and hiding the true reality of war – the lives destroyed and the cities destroyed. At Epique we challenge our perception of war, reminding us that the roots of pleasure should always be questioned.
Gabrielė Labanauskaitė, Gailė Griciūtė and Viktorija Damerell will present the musical performance “Sporto grupė” produced by the modern music theater company “Operomanija” to the French audience. This work is the result of five years of research into the laws of self-improvement and creation of modern man. In the performance, sports equipment turns into unique musical instruments, and the heated air, saturated with trained bodies and pulsating veins, becomes a mirror of modern society.
From the gym to the city streets and intimate spaces. Simona Žemaitytė brings the video work “Love Binge / All You Need Is Love” to “Chroniques”. It’s an urban black box opera about love, intimacy and diversity. Filmed after the first wave of the pandemic in London, the production explores the possibilities of telling stories on screen in an embodied way. Five people share their experiences of passion, sex, avoidance and addictive behaviors. Led by composer Uran Apak and choreographer Tania Soubry, they look at their vulnerability and celebrate diversity through movement, conversation and musical improvisations.
And, of course, Monika Zenkevičiūtė-Monikaze is coming for the spectacular opening of the biennale, combining synthetic experiments with acoustic research on stage. A heavenly voice hovering over electronic sounds, unpredictable electronic compositions, ambient landscapes, humming bass and heavy rhythms will float somewhere in Marseille at midnight.
A project curated by Vytautas Michelkevičius will also take place at the “Chroniques” biennial – improvisation sessions “A/V Jam Session”. They will be created by students and teachers of Vilnius Academy of Arts and Aix-en-Provence High School of Art, working with sound, programming, artificial intelligence, performance and other media. A program of short films and multimedia installations will also be presented during the sessions.
“Chroniques” is an extremely fast-growing biennial that explores the influence of technology on contemporary creativity. The 2022 contemporary art festival attracted more than 98,000 visitors from all over the world and became one of the most significant digital art events in Europe.
The 15th Kaunas Biennale, where it will be possible to see the new “Chroniques” and the works of Aistė Ambrazevičiūtė, Andriaus Arutiunian, Lina Lapelytė, Maximilian Oprishka and Anastasia Sosunova presented at the 17th Lyon Biennale, will take place in 2025. in autumn
Digital Art Biennale “Chroniques” (Biennial of Digital Imaginaries) will take place in Marseille and other cities of the Provence-Alpes-Côte d’Azur region this year. November 8-2025 on January 5.
This cooperation is part of the Lithuanian season in France 2024. The season is organized by the Lithuanian Institute of Culture together with the French Institute in Paris.
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**Interview with Neringa Kulik, Director of Kaunas Biennial**
**Editor:** Thank you for joining us, Neringa. The Kaunas Biennial has developed a remarkable partnership with contemporary art festivals in France and beyond. Can you tell us more about the significance of this collaboration?
**Neringa Kulik:** Thank you for having me! This collaboration is incredibly important for us as it allows us to showcase the richness and diversity of Lithuanian contemporary art on international platforms. It enhances our presence and gives us the opportunity to connect with a wider audience.
**Editor:** You mentioned that this year it seems like “the Kaunas Biennale is not taking place in Kaunas, but in France and Estonia.” How does this reflect the changing nature of art festivals?
**Neringa Kulik:** Absolutely. While we are rooted in Kaunas, our mission has always transcended geographic boundaries. We have been actively engaging in international projects, which enriches our local art scene while sharing Lithuanian perspectives globally. Our presence in places like Lyon and Tartu highlights that contemporary art is not confined to a single location—it’s a shared experience across borders.
**Editor:** The theme of this year’s festival, “Chroniques,” explores pleasure in modern society and digital influences. How do you think these topics resonate with today’s audiences?
**Neringa Kulik:** In our rapidly shifting digital landscape, exploring themes like pleasure and emotional states is crucial. Audiences today are deeply affected by technology in their relationships and perception of the world. Our festival invites viewers to question their experiences and engage deeply with the artworks, from virtual reality to immersive installations, fostering dialogue on these pressing themes.
**Editor:** Can you share some highlights of the works being presented this year, particularly those that may challenge audience perceptions?
**Neringa Kulik:** Certainly! One standout piece is Emilija Škarnulytė’s “Riparia,” which examines ecological narratives through the lens of waterways and human interactions with nature. There’s also Maximilian Oprishka’s “Epique,” an audiovisual installation that critiques the aesthetics of war, challenging our perceptions of pleasure in the face of destruction. These works are particularly powerful in prompting reflection and discourse.
**Editor:** It sounds like this year’s Biennale is both innovative and relevant. What do you hope audiences take away from their experience?
**Neringa Kulik:** Ultimately, I hope audiences leave with a deeper understanding of the complexities of modern life and art’s role within it. We want people to engage, reflect, and perhaps even reconsider their perceptions of intimacy, pleasure, and the impact of technology. Art is a powerful means of exploring and expressing our humanity.
**Editor:** Thank you for sharing your insights, Neringa. It’s exciting to see how the Kaunas Biennial continues to evolve and influence contemporary art on a global scale.
**Neringa Kulik:** Thank you! We’re looking forward to what this year holds and to continuing our mission of connecting art and audiences worldwide.