Not only does Henrihs Vorkals play with your consciousness and sense of perception, writes art historian Laine Kristberga. He also makes you think about the formal values of art and the illusory nature of a painting.
Reviewing the Venice Biennale in its totality is impossible, writes Barabra Fässler, who approaches the critic’s monumental task by selecting three specific motifs: the problem of light, the notion of nation and the principle of interaction.
The isolation of Belarusian artists means they fail to speak the conceptual language of the internationally networked artworld, writes Ausra Trakselyte. A recent exhibition in Vilnius – entitled “A Door Opens?” – aimed to change that by introducing Belarusian artists to the Lithuanian public.
The Venice Biennale and its special curator
Behind the white curtain. Darius Miksys
A self-proclaimed concept designer, Darius Miksys is sometimes called a practitioner of persuasion art, writes Virginija Januskeviciute. When writing a proposal for what was intended to be a solo-exhibition at the 54th Venice Biennale, he realized that the criteria for participating lent itself to the idea of a collection of Lithuanian national art and delegated participation to several other artists.