This time is particularly stressful for the artist. She has been working in Paris for the third week already: “Here we rehearse in small groups with about 100 children of different ages from different schools.”
After being carefully asked about the level of fatigue, L. Lapelytė smiled and said that now a serious marathon of showing her works has begun: “How to say it. This week we present The Speech, and next day Lyons Day opens with two productions.’
The Speech will take place in the Bourse de Commerce space, a prestigious art center with impressive architecture, located near the famous Louvre. The performances on September 11, 12 and 13 mark the start of the 2024 Lithuanian season in France and the opening week of the most important Paris autumn festival “Festival d’Automne”.
– Lina, 80 children participate in your performance, who, as I understand, are the main performers of the work. Why did you need to voice your work with children’s voices?
– In this case, it’s not like the children will sing my song. They are full-fledged participants in the performance, which is a particularly conceptual spot in my work. This time, the young artists will imitate the voices of animals. It seemed to me that the imaginary nature should be voiced by young people who may not be far from nature themselves.
Photo by Nikolos Versecks/Lina Lapelytė’s work “Language” in Paris, in the rotunda of the Bourse de Commerce
– What role does nature play in your work?
– Nature itself may not play any role. It is more about nature and animal world imagined by man. The latter is interesting in that we still do not know him. Turning there is especially important in this age when we want to control, understand and know everything.
The work itself is called “Language” for a reason. “Speech” not as a language phenomenon, but as a speech, a toast, something that someone says on various occasions. This speech is in a language that we have no way of understanding. Reflects the current lack of communication around us and the use of language for manipulative purposes. Her abstraction and surreal painting speak about today’s issues.
– As an artist, do you have the desire to make different sides talk?
– (laughs). No, I have no right to force someone to talk. That would be the next step. However, there is a lot about listening, which I invite you to do, even though the speech will not be understandable to the viewer.
Photo by Nikolos Versecks/Lina Lapelytė’s work “Language” in Paris, in the rotunda of the Bourse de Commerce
– Oh, what is it for?
– There is no communication not only in my fantasy, but also in real life, like Israel and Palestine or people and nature. As I mentioned, in this period there was a lot of room for manipulations, distortion of language, and layers that are not yet heard and that are not tried to be known. However, this is a broader reflection and it is not at all necessary to name who specifically does not communicate.
– It is interesting that the children will sing in the language of animals. Isn’t this a return to the kind of rudiments of language, instincts that are perceived through emotions?
– Yes, “The Speech” is really the beginning, but I must emphasize that the children will not sing, but cry, scream and squeal (smiles).
– Are you strict in rehearsals?
No, I’m not, because I usually work with people from whom I don’t really have the right to demand something that they’re not ready for. In the work process, I try to hear and understand who my co-workers are and what I can ask of them. I’m not trying to change or “break” anything.
Martynas Norvaiša’s photo/Lina Lapelytė’s work “Language” in Paris, in the rotunda of the Bourse de Commerce
– How did you manage to talk to the French themselves? How did they receive you? Perhaps long-term acquaintances appeared?
– I have been working in France for several years. At the beginning, my solo exhibition appeared at the Lafayette Anticipations gallery, I had to collaborate with the Hermes fashion house. Of course, we showed “Sun and sea” and “Good day!”. So the context is already familiar to me, but… since I don’t speak French, it’s still difficult for me. Working with children was based on listening, because I couldn’t really tell them what to say. I tried to just accept what they offered me. Of course, I had a team that helped me: translated and communicated.
– What does this establishment in the French art field mean to you?
– I wouldn’t say that I am established. It just so happened that I received several invitations to participate in important exhibitions. Anyway, my relationship with Paris is quite unexpected, because all the time I associated myself more with London, where I studied. Moreover, the language barrier dictated its own – I never thought that my work would be welcomed and recognized here.
– Imagine if your new creation could change the weather. What kind of weather would it be?
– It would be a warm summer morning, when the time of day changes from night to day, when the sun rises and the mist settles on the grass as if the sky has come down to earth.
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2024-09-12 21:48:03
Table of Contents
- 1 Here are some PAA (People Also Ask) related questions for the title “The Dynamic World of Lina Lapelytė: Experimentation, Nature, and Communication”:
- 2 Here are some PAA (People Also Ask) related questions for the title **”Lina Lapelytė: Exploring the Power of Language and Nature through Performance Art”**:
The Dynamic World of Lina Lapelytė: Experimentation, Nature, and Communication
Lina Lapelytė, a renowned Lithuanian artist, has been making waves in the art world with her innovative and thought-provoking performances. As she prepares to showcase her latest works, including “The Speech” and “Language,” in Paris, we take a closer look at her creative process and the themes that inspire her art.
Improvisation and Freedom
In an interview with Festival d’Automne [[1]], Lapelytė discussed her use of improvisation as a tool to encourage play and freedom in her performances. However, this unpredictability is carefully calculated within a conceptual frame, with a clear reason behind each creative choice. This balance between spontaneity and structure is a hallmark of Lapelytė’s work, which often blurs the lines between music, theater, and visual art.
Nature and the Animal World
Lapelytė’s work often explores the relationship between humans and nature, as well as the animal world imagined by humans. In “Language,” her latest performance, 80 children from different schools in Paris participate as full-fledged performers, imitating the voices of animals. This choice is deliberate, as Lapelytė believes that the imaginary nature should be voiced by young people who are still close to nature themselves.
Communication and the Power of Listening
The title “Language” is significant, as it points to the theme of communication and the role of speech in our lives. Lapelytė’s work is not about language as a phenomenon, but rather as a tool for expression and manipulation. By using a language that is incomprehensible to the viewer, she highlights the current lack of communication and the ways in which language can be used to control and manipulate.
As an artist, Lapelytė is not interested in forcing people to talk, but rather in encouraging them to listen. Her work invites the audience to engage with the performances on a deeper level, even when the language itself is not understandable.
Collaborations and Upcoming Performances
Lapelytė’s latest performances are part of the 2024 Lithuanian season in France and the opening week of the Festival d’Automne. She has collaborated with other artists, including Vaiva Grainytė and Rugilė Barzdžiukaitė, on projects such as “Have a Good Day!” [[2]]and “Sun & Sea” [[3]], which premiered at the Festival d’Automne in 2023.
As Lapelytė’s work continues to push boundaries and challenge audiences, we can expect to see more innovative and thought-provoking performances in the future. With her unique blend of experimentation, nature, and communication, she is an artist to watch in the years to come.
Lina Lapelytė: Exploring the Power of Language and Nature through Performance Art
Lithuanian artist Lina Lapelytė is known for her innovative and thought-provoking performances that combine music, sound, and visual arts to explore complex themes and emotions. Her latest work, “The Speech” or “Language”, is a large-scale performance that brings together 100 children and teenagers to create an immersive and surreal experience.
The Concept of “Language”
In “Language”, Lapelytė invites the audience to reflect on the concept of communication and the role of language in our lives. The performance takes place in the prestigious Bourse de Commerce space in Paris, as part of the 2024 Lithuanian season in France and the Festival d’Automne. The work is not just about language as a means of communication, but also about the ways in which we use language to manipulate and control others.
Nature and the Animal World
Lapelytė’s work often explores the relationship between humans and nature, and “Language” is no exception. The performance features children imitating the voices of animals, creating a powerful
