While introducing the audience to the project, the director of the Contemporary Art Center (ČMC) Kęstutis Kuizinas retrospectively reviewed the history of the Baltic Triennale, which today has become one of the most significant exhibitions in Northern Europe. “It’s easy to multiply fifteen by three to understand that the Baltic Triennale exists in the fifth decade.
This is the longest-running event curated by the CMC and probably one of the biggest challenges, a project that requires the most of our efforts, resources and creativity. Starting as a triennial showing the works of artists from three Baltic countries, it changed over the years, grew, and after the regaining of independence, it rapidly became cosmopolitan, expanding its geography – first, in 1995, to all the countries of the Baltic Sea region, and from 2001. it exhibits the works of artists from all over the world. That’s what it strives to be until now and at the same time to be different every year”, said K. Kuizinas.
The head of the CMC also drew attention to what makes the Baltic Triennial unique in the context of international projects of a similar nature. “The Baltic Triennial differs from other biennials and triennials because it does not have an organizational body, but is an event integrated into the institution’s exhibition network. Similar to the Biennale of Contemporary Art organized by the Whitney Museum of American Art in New York, it is held annually by inviting foreign curators. As soon as the triennial ends, the search begins for who would take on the curatorship of the next triennial. As with the exhibitions of the SMC, we are looking for curators who can cover the issues of contemporary art and the specifics of the region, and then we invite them to submit their proposals”, said K. Kuizinas.
This year, Tomas Engels and Maya Tounta have been entrusted to curate the Baltic Triennale. The curators named the exhibition “The Same Day”. They borrowed this name from 1984. of the poem of the same name by the Greek poet Emerson, composed in New York. This poem is part of a typewritten, previously unpublished collection of poems and songs, Songs Without Music, found in the archives of Greek photographer George Tourkovasilis.
Photo by Emilija Filipenkovaitė/Baltic Triennial Conference
More than 50 artists from different countries of the world who have been active in different periods of time participate in the exhibition: Rey Akdogan, Andrius Arutiunian, Nick Bastis, Kazimierz Bendkowski, Geta Brătescu, Matt Browning, Tom Burr, Elene Chantladze, Josef Dabernig, Aria Dean and Laszlo Horvath, Amber Dižiapetris, Jason Dodge, Mette Edvardsen and Iben Edvardsen, Kevin Jerome Everson, Simone Forti, Michèle Graf and Selina Grüter, Toine Horvers, Villu Jõgeva, Tarik Kiswanson, Michael Kleine, Kitty Kraus, Bradley Kronz, Běla Kolářová, Jiří Kovanda, Kaarel Kurismaa . Jean-Marie Straub and Danièle Huillet, Stephen Sutcliffe, Tanya Syed, Raša Todosijević, Thanasis Totsikas, Maria Toumazou, Christos Tzivelos, Mare Vint, Tanja Widmann, Marina Xenofontos, Eiko Yamazawa.
When asked what the biggest curatorial challenges were in combining contemporary art with the rich historical works at this year’s triennial, Maya Tounta, one of the curators, said: “It’s always very interesting to rethink old works by curating them in a new context. Not all the authors of the works are alive and it is not always possible to consult about the exhibition, but we asked some artists to go back in time and rethink their works, thinking about how they would create them in today’s context. This resulted in micro-changes in some of the works, and sometimes the works remained unchanged at all.”
Photo by Emilija Filipenkovaitė/Baltic Triennial Conference
Curator Tom Engels added: “It was extremely important for us to help viewers unlock the historical works, so we tried to provide the wider contexts of their origin in the exhibition brochure. Because it is impossible to watch 8 December. Polish experimental cinema without considering the political, social context and technological progress of that era. For example, we show the films of the first women who made experimental cinema in Poland, and in order to get the most out of them, you need to know this context.
Meanwhile, we create art today with more freedom, we experience it sensually, idiosyncratically, so it is not so important to contextualize it. For me, an exhibition is always a kind of composition. The 15th Baltic Triennale is not heterogeneous in terms of geography or time, but with it we are building bridges in time and space, creating conditions for meeting works and artists who would otherwise never have met. Today, the works exhibited together can resonate in a different way and create new meanings. Kinetic sculptures from the 8th century are exhibited together in the exhibition. of Estonia and today’s Cyprus or experimental 8 desh. Polish films together with a group of filmmakers actively working in New York today.”
Margarita Žigutytė, the curator of the education program of the Contemporary Art Center, said that the educational program accompanying the 15th Baltic Triennale will start from the end of September, which will consist of excursions, workshops and activities for target groups, such as seniors, people with autism spectrum disorders or hearing disabilities. “Organized creative educational workshops are designed to develop observation skills and eye sensitivity.
In the context of contemporary art exhibitions, education is extremely important, primarily because it is an informal space for the development of creativity, critical thinking and other skills. Contemporary art exhibitions often offer unexpected perspectives on certain phenomena and events, and education helps mediate those insights to audiences. But perhaps the most important thing is that education creates a space and opportunity for people to meet and learn from each other,” said M. Žigutytė.
The opening weekend of the 15th Baltic Triennial is September 6 and 7. All events of the opening program are free, and the exhibition is also free to visit on Friday and Saturday.
Program of live performances:
September 6
18:00 Opening / Second floor lobby
18:00 Andrius Arutiunian / “Armen” / Car journey starts in the Sculpture Yard / Pre-registration required / 42 min. / Repeats every hour, last flight at 21:00
19:00 Eszter Salamon / “Dance for Nothing (revisited)” / Performance / 45 min. / Second floor patio / Late visitors will not be admitted
20:00 Julie Peeters and BILL / Magazine presentation / Second floor lobby
September 7
5:30-8:55pm Toine Horvers / Rolling 1 / Performance / 3pm 25 minutes / The Great Hall
14:00 Andrius Arutiunian / “Armen” / Car journey starts in the Sculpture Yard / Pre-registration required / 42 min. / Repeats every hour, last flight at 21:00
19:00 Dana Michel / PRETZEL DI AQUA / Performance / 30 min. / ŠMC
21:00 Mette Edvardsen and Iben Edvardsen / “Livre d’images sans images” / Performance 60 min. / Cinema hall / Late visitors will not be admitted
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#Welcoming #15th #Baltic #Triennale #opening #today #Culture
2024-09-07 10:30:08
**Related Questions:**
The 15th Baltic Triennial: Celebrating Five Decades of Contemporary Art in Northern Europe
The Baltic Triennial, one of the most significant exhibitions in Northern Europe, has reached a milestone – its fifth decade. This year, the 15th edition of the triennial, titled “The Same Day,” will take place at the Contemporary Art Centre (CAC) in Vilnius, Lithuania, from September 6, 2024, to January 12, 2025 [[3]]. The triennial has come a long way since its inception, growing from a regional exhibition to a cosmopolitan event that showcases the works of artists from around the world.
A Brief History of the Baltic Triennial
The Baltic Triennial was first launched in the 1970s as a triennial exhibition of artists from the three Baltic countries – Estonia, Latvia, and Lithuania. Over the years, it has evolved to become a premier contemporary art event in Northern Europe [[2]]. After the Baltic countries regained their independence, the triennial expanded its geographical scope to include all countries of the Baltic Sea region in 1995 and eventually, to feature artists from all over the world from 2001 [[1]].
What Makes the Baltic Triennial Unique
According to Kęstutis Kuizinas, the director of the Contemporary Art Centre (CAC), the Baltic Triennial stands out from other biennials and triennials due to its integration into the institution’s exhibition network [[1]]. Unlike other international projects, the Baltic Triennial does not have an organizational body, and its curatorship is entrusted to foreign curators who are invited to submit their proposals.
The Curatorial Vision for the 15th Baltic Triennial
This year, Tomas Engels and Maya Tounta have been entrusted to curate the Baltic Triennale. The curators have chosen the theme “The Same Day,” inspired by a poem of the same name by Greek poet Emerson, composed in New York in 1984 [[1]]. The exhibition will feature more than 50 artists from different countries and periods, including Rey Akdogan, Andrius Arutiunian, Nick Bastis, Kazimierz Bendkowski, and many more.
The Challenges of Combining Contemporary Art with Historical Works
When asked about the biggest curatorial challenges in combining contemporary art with the rich historical works at this year’s triennial, Maya Tounta highlighted the importance of finding a balance between the two. The curators aimed to create a dialogue between the historical and contemporary works, showcasing the evolution of art over time.
Conclusion
The 15th Baltic Triennial is a testament to the power of contemporary art to bring people and cultures together. With its rich history, diverse artist lineup, and unique curatorial vision, this year’s edition is set to be an unforgettable event in the world of contemporary art. Mark your calendars for September 6, 2024, and get ready to experience the rhythm of
