Balsevicius
The goal of this section in my portfolio is to investigate the development of my artistic practice in the context of others work. It features each of my major projects as well as what inspired them.
Lithuanian Goods
One has sent whatever someone will receive.
Often the process of sending undermines the harsh condition the shipment will go through.
However we still want to send what needs to be sent.
In some case it’s a important letter or a purchased item in other it’s a sign of love and care to someone away from you, potentially on the other side of the world.
With this project I have decided to send my friends a small piece of my surrounding, that at the time was a cold, winter in Lithuania. Just like your grandmas pickled vegetables, that you receive around Christmas time, delivered by some guy who only speaks your mother tongue. Just like my grandma want’s to share her hard work and love I want to share the essence of my country, even though it will not be the same in the context of the receiver.
As the project progressed some flaws occurred. The nature of it being a project that I have developed in 24h meant there was no time for a thorough investigation. Thus the logistics were not thought through. The jars that were shipped got lost in the mail and are now either destroyed or sitting somewhere in storage. I may never see them again, however, this exposed them to new contexts, giving them more complexity. A reflection for the next time would be to investigate the logistics more thoroughly and somehow incorporate them into the process itself, making it more layered.
1.![]()
2.![]()
3.![]()
4.![]()
5. ![]()
2.
3.
4.
5. 
6.![]()
7.![]()
8.![]()
9.![]()
10.![]()
7.
8.
9.
10.
Fig. 1 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 2 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 3 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 4 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 5 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 6 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 7 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 8 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 9 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 10 - Jonas Balsevičius, Lithuanian Goods (2021)
In the beginning stages of my practice was mainly inspired by Lithuanian artists, not only because I grew up seeing some of their works, but also the environment in which I spent my teenage years. I had a chance to work in commercial photography as well as on various art initiatives and projects that were being developed at the time. This opportunity meant that majority of my time was spent in presence of known artists, curators, creatives. This not only allowed me to observe their work from up close but also to familiarise myself with their creative processes as well as sources of inspiration.
Julijonas Urbonas
I recall a moment when I entered “Vartai” gallery in Vilnius old town. I was greeted by a spinning piano and futuristic looking structures, it was greatly inspiring to see how technology and art could very well coexists in the same context, more importantly I understood that art is much more than just the art work, yet it is a long process of research and reasoning. In the end it all comes down to the process and not the work itself, that’s how I saw Urbonas work and this idea was what I lived by ever since (Lithuanian Space Agency).
Jurgis Mačiūnas (George Maciunas)
The mastermind and driving force of fluxus (The art story) and also one of the crucial figures in the beginning stages of my artistic practice. While Jonas Mekas greatly inspired me he made me notice George, whose story was much less know yet seemed much more relatable to my practice. His work has once again showed me that the process is not only important but could also be the work itself (fahrenheit magazine 2020).
Fig. 15 - George Maciunas, Products for Fluxus editions (1964).
Fig. 16 - Peter J. Moore, George Maciunas performing his “Piano Piece no. 13” (aka “Carpenter’s Piano Piece”), Fluxhall, 359 Canal Street, NY, May 9, 1964 (1964). Fig. 17 - George Maciunas, Fluxpost (Smiles)(1978).
Love between two lovers, growing up in the times where the soviet shadows were still very apparent. However the western culture influence was seeping in everywhere we went. This unusual merge create lots of very strong and very peculiar symbols and traditions. In some cases they would be recognisable to many cultures in other cases they were weird interpretations of our time and surrounding.
“Love is” is a chewing gum that was one of the first items to be imported into Lithuania, in late 80s and early 90s. It’s a symbol of our childhood that for us was a chewing gum and a fun cartoon. However the meaning of this symbol is much deeper rooted than we may think, created as a symbol of love to a dying husband and reproduced all over the world, stripping almost all of its meaning and power, that now just remains as a funny cartoon.
"Love is" was our first attempt at curating a show. For an artist duo of our type, it was a good opportunity to show our work while communicating the message that we were interested in the most. Being the curators of the show meant that we had to make no compromises. However, this meant that the process had to be quite experimental and thus quite time-consuming. This sort of process resulted in some unforeseen difficulties and a result that was not quite as expected. Despite this inconvenience, it was a learning curve and an experience that formed a strong base for similar tasks yet to come.
Fig. 18 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 19 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 20 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 21 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 22 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 23 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Bright colours and the power of advertising is pushing me forward in this stage of my practice. I’m starting to become more fascinated by world known artists. Advertising as a tool and science of attention pushes me to think much more about colour and ways of attracting people. I noticed that exhibition’s where you can interact with work are much more interesting to me than the ones where work is sacred and untouchable.
Rafals’ work inspired me with its unique shapes and bright colours (Rafal Zajko). For me the bright colours became the primary reason why I noticed their work, unique shapes and lights hidden within the objects had a very unique aesthetic and thus became a big inspiration for the work I’ve showed at Love is...
Fig. 24 - Rafal Zajko, Siren V (Tableux)(2022).
Fig. 25 - Rafal Zajko, Siren VII (Helm)(2022).
Fig. 26 - Rafal Zajko, Siren X (Speaker)(2022).
Fig. 27 - Rafal Zajko, Siren XVIII (Armour) (2022).
Christopher Williams
“The Production Line of Happiness” was another reason why I became very interested in advertising and its power on people. In this case it was an entire project that pointed out the phenomenon of perfection and bright colours as reason of success (Schjeldahl, 2014).
Fig. 28 - Christopher Williams, “Kodak Three Point Reflection Guide ©1968, Eastman Kodak Company, 1968 (Corn) Photography by the Douglas M. Parker Studio, Glendale, California, April 17, 2003” (2003)
Fig. 29 - Christopher Williams, “Bouquet for Bas Jan Ader and Christopher D’Arcangelo” (1991)
Fig. 30 - Christopher Williams, “Erratum” (2000)
Fig. 31 - Christopher Williams, “RITTERSPORT” (2009)
House Warming
Shireesha Fullee, Karolina žalėnaiteė, Effie Amodru, Lisa Singfield, Jonas Balsevičius
Currators: Jonas Balsevičius and Karolina Žalėnaitė
Knock three times on the wooden frame of the door as you enter a steep and narrow staircase. Good luck climbing it. Please use the doormat to wipe your shoes before entering the room upstairs. Inside, you’ll be met by the squeaky wooden floor with some boards missing along the left edge of the room. We have pets but don’t be scared - they usually don’t bite. You can leave your housewarming gifts by the fireplace. Feel free to look around. Take your time. It might look quite empty but it’s actually just enough when you think about it. There is a second floor. Mind your head when you’re upstairs. Actually, you might need to get down on your knees to enter. But it’s worth it. Make yourself comfortable. Mi casa es tu casa.
Best wishes, SKELJ
...
House warming is a group exhibition, inspired by unique space in Deptford. An old butchers flat, that is closed to public most of the time, is opened upon demand. It is managed by a coffee shop downstairs that is unable to do anything with the space due to its awkwardness.
We have decided to create a mysterious creature named SKELJ, who would occupy this space, as it was impossible to live here for a human we thought it may be more suitable for a SKELJ. They brought whatever they felt was needed, which in reality was a selection of pieces of our friends. the pieces were installations or objects that we then scattered throughout the space.
I created a site specific piece, “Untidy”, which was an audio-visual installation and a performance of me cleaning. The piece was inspired by The Simpsons, this cartoon then bace the source of my audio.
In House Warming I once again took on the role of a curator and an artist. I was presenting an installation and performance piece “Untidy”. Drawing inspiration from my childhood and extremely pedantic parents I made a piece that was a take on the process of cleaning and how it became a coping mechanism and a source of procrastination for me and many of my friends. Seemingly randomly arranged computer screen with a video cut out of “The Simpsons” playing on repeat in the corner of the space and me, armed with cleaning supplies, socialising and maintaining cleanliness.
While it seemed a bit last minute and uncoordinated at the time, now reflecting on it makes me think that it was a success. The unique space combined with the carefully selected pieces, made by my friends and acquaintances created an atmosphere that I can truly appreciate in an exhibition. It was real and domestic while maintaining cultural value and meaning, yet being accessible and easily digestible.
Fig. 32 - Jonas Balsevičius, Untidy (2022).
Fig. 33 - Jonas Balsevičius, Untidy (2022).
Site specific work is starting to become important, I start seeing every space as a context that is impossible to undermine. This context becomes an essential aspect of every work presented within the space. The type of the space, the institution, the audiences it attracts are all very important aspects that should always be in ones mind. This ultimately leads to realisation of the power of the institution or in other words, gallery space. If any other space is a context of itself, giving away a lot, a gallery space is like a map, in which you need to find the relevant destinations.
Daniel Buren
An artist who inspired me to see spaces as a blank canvas, where works can be exhibited in any way, shape or form. His paintings allowed to understand the importance of architecture and perspective, as it greatly influences our vision of the works and allows us to see certain aspects of it differently (Lisson Gallery).
Fig. 34 - Daniel Buren, Pile Up: High relief n°B12 (2018)
Fig. 35 - Daniel Buren, A Perimeter for a Room work in situ (2011)
Fig. 36 - Daniel Buren, Peinture acrylique sur tissu rayé blanc et jaune d'or (1989)
Fig. 37 - Daniel Buren, De Travers et Trop Grand - Bleu, (2013)
An artist who turned his unsuccessful writer career into, in my opinion, a revolutionary visual artist career. His “Museum of Modern Art, Department of Eagles” was a unique institution where he took on all of the roles that would exist within such institution. His approach towards the role of an institution and gallery as a context inspired me to rethink every choice made during the process of exhibiting work (Wiki Art, 2021).
Fig. 38 - Marcel Broodthaers, Untitled (Triptych). (1965–1966)
Fig. 39 - Marcel Broodthaers, Casserole and Closed Mussels (1964)
Fig. 40 - Marcel Broodthaers, White Cabinet and White Table (1965)Fig. 41 - Marcel Broodthaers, I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg (1966)
Galerie Uberall
An imaginary gallery space ran by Andrej Polukord & Mario Strk is more of plaque that they either carry or push around various cities. They usually only exhibit one work and they can be seen floating around the city. This institution reminded me of the finishing scene of Penguins of the Madagascar, season 1 episode 41, where the elephant got a large painting (replica of Jackson Pollock) stuck to its side, trying to hide him in the streets of New York (Gallery Uberall).
Fig. 42 - Galerie Uberall, Covid-19 vaccine (2021)
Fig. 43 - Unknown, Untitled (2020) exhibited by Galerie Uberall
Fig. 44 - Beatričė Mockevičiūtė, Asukas (2019), exhibited by Galerie Uberall
Fig. 45 - Unknown, Untitled (2020) exhibited by Galerie Uberall
David Hammons
“Blizz-ard Ball Sale” had great impact on my career, as I understood the importance of space which is a realisation that many artists make. However there was another important context - time. This piece led me to an understanding that time is very important, it could be used to your advantage, yet if used incorrectly will make you work irrelevant and thus boring. In this pieces case the artist acted instantly and thus made a brilliant piece, however there are so many pieces that try to comment on very large and important topics when the comments are already being made during the production of the work. In my mind many of their grand peaces are become irrelevant at the time of showing (Artforum).
Fig. 46 - David Hammons, Blizz-ard Ball Sale (1983)
Fig. 47 - David Hammons, Blizz-ard Ball Sale (1983)
Fig. 48 - David Hammons, Blizz-ard Ball Sale (1983)
Mushrooms/Grybukai
An exhibition that took place at Bunker Gardens in camberwell. It was a group show that was showing and other Camberwell student works. The exhibition took place in a public space above an old nuclear bunker.
The unique space inspired me to create site specific work, that would comment on the features of the space. Bunker was not the only unique feature of the space, as well as that there were lot’s of DIY structures and various objects scattered around the space.
The initial inspiration for the project came from radiotrophic fungus that was found in Chernobyl in the 90s. It was the only thing that was capable to live inside the reactor. The wasteland like space above the bunker made me think about the space as a sort of scenery that would be found by the ones who have excited the bunker after years of hiding. There is a good chance that the first thing they would see would be mushrooms.
In the case of this project the mushrooms were Lithuanian pastries, that could be purchased in any market, grocery store, gas station and pretty much anywhere else. I recall my dad telling me a story that the year when Chernobyl happened the mushrooms were unusually large, it may have been true, knowing the fact that he spent his summers in Belarus, approximately 550km from Chernobyl, in the very middle of the radioactive cloud path.
A fact I found ironic is that my dad’s uncle was a forester, who found a new species of mushroom, that only grows in certain areas of Lithuania. The mushroom traveled here from north America, with he pine trees that the Germans planted there in the 30s. The mushroom was a type of boletus that the locals called Balsevičiukas (lat. Aureoboletus projectellus).
The biggest regret of this project is the fact I never came back, I didn’t revisit. I was excited to see how the piece decomposes over time. I found that very sad for the longest time, but now I look back at it, I wonder how it progressed. Maybe forgetting it, letting it be was the good decision, the sort of mystery left behind inspires in a way.
Fig. 49 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 50 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 51 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 52 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 53 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 54 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
At this stage of my practice I am very aware of the view and their interaction with my work. This becomes an essential aspect of my practice, not only through ways of exhibiting but also through ways I produce my work. Reactive to the viewer, inspired by the viewer, consumable by the viewer.
Carsten Holler
An artist who was also greatly was affected by the viewer. He would study their behaviour and make work which required interaction. His work also inspired me to look into mushroom as a symbol and a tool to carry a message (Itsliquid, 2014).
Fig. 56 - Carsten Holler, New Long Term Project (2021)
Fig. 57 - Carsten Holler, New Long Term Project (2021)
Fig. 58 - Carsten Holler, Upside-Down Mushroom Room (2000)
An artist who sees the things that construct our every day life, the oddities in routine. His work has showed me that the work is about everything that you do, it’s not only about what you think is worthy, it’s also about everything in between. As other artists led me to the understanding that process of art making can be a work of art, his work showed me that any process, any moment and any feeling can be seen as works of art, the beauty of ordinary and thorough collection as a tool to distinguish what is valuable and what is not. Archive as a tool in art making (Middlehurst, 2016).
Fig. 59 - Richard Wentworth, London (1976)
Fig. 60 - Richard Wentworth, Mirror Mirror (2003)
Fig. 61 - Richard Wentworth, Mode - Module - Modular (2004)
Fig. 62 - Richard Wentworth, Calais (2000)
Fig. 63 - Richard Wentworth, England (1978)
A new chapter is now beginning, I am looking for new ways to create and ways of moving forward as there are many temptations to create work on the topics that are currently booming I choose to remain in what interests me. I see my practise as a process, my life - exploration, my passion a compass. I call it transit...
Lithuanian Space Agency (No date), Available at: https://lithuanianspace.agency (Accessed: 22nd of May 2023)
fahrenheit magazine (2020), Available at:https://fahrenheitmagazine.com/en/modern-art/george-maciunas-the-architect-of-the-fluxus-stream (Accessed: 22nd of May 2023)
Rafal Zajko (no date), Available at: https://www.rafal-zajko.com (Accessed: 22nd of May 2023)
Schjeldahl (2014), The New Yorker, Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Lisson Gallery (no date), Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Wiki Art (2021), Available at: https://www.wikiart.org/en/marcel-broodthaers/casserole-and-closed-mussels-1964 (Accessed: 22nd of May 2023)
Gallery Uberall (no date), Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Artforum (no date), Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Itsliquid (2014), Available at: https://www.itsliquid.com/installations-carsten-holler.html (Accessed: 22nd of May 2023)
Middlehurst (2016), Steve Middlehurst Identity and Place, Available at: https://stevemiddlehurstidentityandplace.wordpress.com/2016/10/02/richard-wentworth-making-do-and-getting-by/ (Accessed: 22nd of May 2023)
Fig. 1 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 2 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 3 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 4 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 5 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 6 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 7 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 8 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 9 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 10 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig.11 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.12 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.13 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.14 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig. 15 - George Maciunas, Products for Fluxus editions (1964). Available at: https://www.moma.org/collection/works/128262 (Accessed: 22nd of May 2023)
Fig. 16 - Peter J. Moore, George Maciunas performing his “Piano Piece no. 13” (aka “Carpenter’s Piano Piece”), Fluxhall, 359 Canal Street, NY, May 9, 1964 (1964). Available at: https://www.artnet.com/artists/peter-j-moore/george-maciunas-performing-his-piano-piece-no-13-a-QK8xm-xu2Bq6V773DNV0Pg2 (Accessed: 22nd of May 2023)
Fig. 17 - George Maciunas, Fluxpost (Smiles)(1978). Available at: (Accessed: 22nd of May 2023)
Fig. 18 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 19 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 20 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 21 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 22 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 23 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 24 - Rafal Zajko, Siren V (Tableux)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 25 - Rafal Zajko, Siren VII (Helm)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 26 - Rafal Zajko, Siren X (Speaker)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 27 - Rafal Zajko, Siren XVIII (Armour) (2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 28 - Christopher Williams, “Kodak Three Point Reflection Guide ©1968, Eastman Kodak Company, 1968 (Corn) Photography by the Douglas M. Parker Studio, Glendale, California, April 17, 2003” (2003) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 29 - Christopher Williams, “Bouquet for Bas Jan Ader and Christopher D’Arcangelo” (1991) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 30 - Christopher Williams, “Erratum” (2000) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 31 - Christopher Williams, “RITTERSPORT” (2009) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 32 - Jonas Balsevičius, Untidy (2022).
Fig. 33 - Jonas Balsevičius, Untidy (2022).
Fig. 34 - Daniel Buren, Pile Up: High relief n°B12 (2018) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 35 - Daniel Buren, A Perimeter for a Room work in situ (2011) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 36 - Daniel Buren, Peinture acrylique sur tissu rayé blanc et jaune d'or (1989) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 37 - Daniel Buren, De Travers et Trop Grand - Bleu, (2013) Available at: https://www.artsy.net/artwork/daniel-buren-de-travers-et-trop-grand-bleu-1 (Accessed: 22nd of May 2023)
Fig. 38 - Marcel Broodthaers, Untitled (Triptych). (1965–1966) Available at: https://www.moma.org/audio/playlist/25/457 (Accessed: 22nd of May 2023)
Fig. 39 - Marcel Broodthaers, Casserole and Closed Mussels (1964) Available at: https://www.wikiart.org/en/marcel-broodthaers/casserole-and-closed-mussels-1964 (Accessed: 22nd of May 2023)
Fig. 40 - Marcel Broodthaers, White Cabinet and White Table (1965) Available at: https://www.wikiart.org/en/marcel-broodthaers/white-cabinet-and-white-table-1965 (Accessed: 22nd of May 2023)
Fig. 41 - Marcel Broodthaers, I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg (1966) Available at: https://www.tate.org.uk/art/artworks/broodthaers-i-return-to-matter-i-rediscover-the-tradition-of-the-primitives-painting-with-t03089 (Accessed: 22nd of May 2023)
Fig. 42 - Galerie Uberall, Covid-19 vaccine (2021) Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 43 - Unknown, Untitled (2020) exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 44 - Beatričė Mockevičiūtė, Asukas (2019), exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 45 - Unknown, Untitled (2020) exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 46 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 47 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 48 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 49 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 50 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 51 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 52 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 53 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 54 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 55 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 56 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 57 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 58 - Carsten Holler, Upside-Down Mushroom Room (2000) Available at: https://www.itsliquid.com/installations-carsten-holler.html (Accessed: 22nd of May 2023)
Fig. 59 - Richard Wentworth, London (1976) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 60 - Richard Wentworth, Mirror Mirror (2003) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 61 - Richard Wentworth, Mode - Module - Modular (2004) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 62 - Richard Wentworth, Calais (2000) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 63 - Richard Wentworth, England (1978) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 2 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 3 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 4 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 5 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 6 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 7 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 8 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 9 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 10 - Jonas Balsevičius, Lithuanian Goods (2021)
In the beginning stages of my practice was mainly inspired by Lithuanian artists, not only because I grew up seeing some of their works, but also the environment in which I spent my teenage years. I had a chance to work in commercial photography as well as on various art initiatives and projects that were being developed at the time. This opportunity meant that majority of my time was spent in presence of known artists, curators, creatives. This not only allowed me to observe their work from up close but also to familiarise myself with their creative processes as well as sources of inspiration.
Julijonas Urbonas
I recall a moment when I entered “Vartai” gallery in Vilnius old town. I was greeted by a spinning piano and futuristic looking structures, it was greatly inspiring to see how technology and art could very well coexists in the same context, more importantly I understood that art is much more than just the art work, yet it is a long process of research and reasoning. In the end it all comes down to the process and not the work itself, that’s how I saw Urbonas work and this idea was what I lived by ever since (Lithuanian Space Agency).
11.![]()
12.![]()
13.![]()
14.![]()
12.
13.
14.
Fig.11 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.12 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.13 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.14 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.12 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.13 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Fig.14 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius.
Jurgis Mačiūnas (George Maciunas)
The mastermind and driving force of fluxus (The art story) and also one of the crucial figures in the beginning stages of my artistic practice. While Jonas Mekas greatly inspired me he made me notice George, whose story was much less know yet seemed much more relatable to my practice. His work has once again showed me that the process is not only important but could also be the work itself (fahrenheit magazine 2020).
15.![]()
16.![]()
17.![]()
16.
17.
Fig. 15 - George Maciunas, Products for Fluxus editions (1964).
Fig. 16 - Peter J. Moore, George Maciunas performing his “Piano Piece no. 13” (aka “Carpenter’s Piano Piece”), Fluxhall, 359 Canal Street, NY, May 9, 1964 (1964). Fig. 17 - George Maciunas, Fluxpost (Smiles)(1978).
Love is
Love between two lovers, growing up in the times where the soviet shadows were still very apparent. However the western culture influence was seeping in everywhere we went. This unusual merge create lots of very strong and very peculiar symbols and traditions. In some cases they would be recognisable to many cultures in other cases they were weird interpretations of our time and surrounding.
“Love is” is a chewing gum that was one of the first items to be imported into Lithuania, in late 80s and early 90s. It’s a symbol of our childhood that for us was a chewing gum and a fun cartoon. However the meaning of this symbol is much deeper rooted than we may think, created as a symbol of love to a dying husband and reproduced all over the world, stripping almost all of its meaning and power, that now just remains as a funny cartoon.
"Love is" was our first attempt at curating a show. For an artist duo of our type, it was a good opportunity to show our work while communicating the message that we were interested in the most. Being the curators of the show meant that we had to make no compromises. However, this meant that the process had to be quite experimental and thus quite time-consuming. This sort of process resulted in some unforeseen difficulties and a result that was not quite as expected. Despite this inconvenience, it was a learning curve and an experience that formed a strong base for similar tasks yet to come.
18.![]()
19.![]()
20.![]()
21.![]()
22.![]()
23.![]()
19.
20.
21.
22.
23.
Fig. 19 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 20 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 21 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 22 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 23 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Bright colours and the power of advertising is pushing me forward in this stage of my practice. I’m starting to become more fascinated by world known artists. Advertising as a tool and science of attention pushes me to think much more about colour and ways of attracting people. I noticed that exhibition’s where you can interact with work are much more interesting to me than the ones where work is sacred and untouchable.
Rafal Zajko
Rafals’ work inspired me with its unique shapes and bright colours (Rafal Zajko). For me the bright colours became the primary reason why I noticed their work, unique shapes and lights hidden within the objects had a very unique aesthetic and thus became a big inspiration for the work I’ve showed at Love is...
24.![]()
25.![]()
26.![]()
27.![]()
25.
26.
27.
Fig. 25 - Rafal Zajko, Siren VII (Helm)(2022).
Fig. 26 - Rafal Zajko, Siren X (Speaker)(2022).
Fig. 27 - Rafal Zajko, Siren XVIII (Armour) (2022).
Christopher Williams
“The Production Line of Happiness” was another reason why I became very interested in advertising and its power on people. In this case it was an entire project that pointed out the phenomenon of perfection and bright colours as reason of success (Schjeldahl, 2014).28.![]()
29.![]()
30.![]()
31.![]()
29.
30.
31.
Fig. 28 - Christopher Williams, “Kodak Three Point Reflection Guide ©1968, Eastman Kodak Company, 1968 (Corn) Photography by the Douglas M. Parker Studio, Glendale, California, April 17, 2003” (2003)
Fig. 29 - Christopher Williams, “Bouquet for Bas Jan Ader and Christopher D’Arcangelo” (1991)
Fig. 30 - Christopher Williams, “Erratum” (2000)
Fig. 31 - Christopher Williams, “RITTERSPORT” (2009)
House Warming
Shireesha Fullee, Karolina žalėnaiteė, Effie Amodru, Lisa Singfield, Jonas Balsevičius
Currators: Jonas Balsevičius and Karolina Žalėnaitė
Knock three times on the wooden frame of the door as you enter a steep and narrow staircase. Good luck climbing it. Please use the doormat to wipe your shoes before entering the room upstairs. Inside, you’ll be met by the squeaky wooden floor with some boards missing along the left edge of the room. We have pets but don’t be scared - they usually don’t bite. You can leave your housewarming gifts by the fireplace. Feel free to look around. Take your time. It might look quite empty but it’s actually just enough when you think about it. There is a second floor. Mind your head when you’re upstairs. Actually, you might need to get down on your knees to enter. But it’s worth it. Make yourself comfortable. Mi casa es tu casa.
Best wishes, SKELJ
...
House warming is a group exhibition, inspired by unique space in Deptford. An old butchers flat, that is closed to public most of the time, is opened upon demand. It is managed by a coffee shop downstairs that is unable to do anything with the space due to its awkwardness.
We have decided to create a mysterious creature named SKELJ, who would occupy this space, as it was impossible to live here for a human we thought it may be more suitable for a SKELJ. They brought whatever they felt was needed, which in reality was a selection of pieces of our friends. the pieces were installations or objects that we then scattered throughout the space.
I created a site specific piece, “Untidy”, which was an audio-visual installation and a performance of me cleaning. The piece was inspired by The Simpsons, this cartoon then bace the source of my audio.
In House Warming I once again took on the role of a curator and an artist. I was presenting an installation and performance piece “Untidy”. Drawing inspiration from my childhood and extremely pedantic parents I made a piece that was a take on the process of cleaning and how it became a coping mechanism and a source of procrastination for me and many of my friends. Seemingly randomly arranged computer screen with a video cut out of “The Simpsons” playing on repeat in the corner of the space and me, armed with cleaning supplies, socialising and maintaining cleanliness.
While it seemed a bit last minute and uncoordinated at the time, now reflecting on it makes me think that it was a success. The unique space combined with the carefully selected pieces, made by my friends and acquaintances created an atmosphere that I can truly appreciate in an exhibition. It was real and domestic while maintaining cultural value and meaning, yet being accessible and easily digestible.
32.![]()
33.![]()
33.
Fig. 33 - Jonas Balsevičius, Untidy (2022).
Site specific work is starting to become important, I start seeing every space as a context that is impossible to undermine. This context becomes an essential aspect of every work presented within the space. The type of the space, the institution, the audiences it attracts are all very important aspects that should always be in ones mind. This ultimately leads to realisation of the power of the institution or in other words, gallery space. If any other space is a context of itself, giving away a lot, a gallery space is like a map, in which you need to find the relevant destinations.
Daniel Buren
An artist who inspired me to see spaces as a blank canvas, where works can be exhibited in any way, shape or form. His paintings allowed to understand the importance of architecture and perspective, as it greatly influences our vision of the works and allows us to see certain aspects of it differently (Lisson Gallery).
34.![]()
35.![]()
36.![]()
37.![]()
35.
36.
37.
Fig. 35 - Daniel Buren, A Perimeter for a Room work in situ (2011)
Fig. 36 - Daniel Buren, Peinture acrylique sur tissu rayé blanc et jaune d'or (1989)
Fig. 37 - Daniel Buren, De Travers et Trop Grand - Bleu, (2013)
Marcel Broodthaers
An artist who turned his unsuccessful writer career into, in my opinion, a revolutionary visual artist career. His “Museum of Modern Art, Department of Eagles” was a unique institution where he took on all of the roles that would exist within such institution. His approach towards the role of an institution and gallery as a context inspired me to rethink every choice made during the process of exhibiting work (Wiki Art, 2021).
38.![]()
39.![]()
40.![]()
41.![]()
39.
40.
41.
Fig. 39 - Marcel Broodthaers, Casserole and Closed Mussels (1964)
Fig. 40 - Marcel Broodthaers, White Cabinet and White Table (1965)Fig. 41 - Marcel Broodthaers, I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg (1966)
Galerie Uberall
An imaginary gallery space ran by Andrej Polukord & Mario Strk is more of plaque that they either carry or push around various cities. They usually only exhibit one work and they can be seen floating around the city. This institution reminded me of the finishing scene of Penguins of the Madagascar, season 1 episode 41, where the elephant got a large painting (replica of Jackson Pollock) stuck to its side, trying to hide him in the streets of New York (Gallery Uberall).
42.![]()
43.![]()
44.![]()
45.![]()
43.
44.
45.
Fig. 43 - Unknown, Untitled (2020) exhibited by Galerie Uberall
Fig. 44 - Beatričė Mockevičiūtė, Asukas (2019), exhibited by Galerie Uberall
Fig. 45 - Unknown, Untitled (2020) exhibited by Galerie Uberall
David Hammons
“Blizz-ard Ball Sale” had great impact on my career, as I understood the importance of space which is a realisation that many artists make. However there was another important context - time. This piece led me to an understanding that time is very important, it could be used to your advantage, yet if used incorrectly will make you work irrelevant and thus boring. In this pieces case the artist acted instantly and thus made a brilliant piece, however there are so many pieces that try to comment on very large and important topics when the comments are already being made during the production of the work. In my mind many of their grand peaces are become irrelevant at the time of showing (Artforum).
46.![]()
47.![]()
48.![]()
47.
48.
Fig. 47 - David Hammons, Blizz-ard Ball Sale (1983)
Fig. 48 - David Hammons, Blizz-ard Ball Sale (1983)
Mushrooms/Grybukai
An exhibition that took place at Bunker Gardens in camberwell. It was a group show that was showing and other Camberwell student works. The exhibition took place in a public space above an old nuclear bunker.
The unique space inspired me to create site specific work, that would comment on the features of the space. Bunker was not the only unique feature of the space, as well as that there were lot’s of DIY structures and various objects scattered around the space.
The initial inspiration for the project came from radiotrophic fungus that was found in Chernobyl in the 90s. It was the only thing that was capable to live inside the reactor. The wasteland like space above the bunker made me think about the space as a sort of scenery that would be found by the ones who have excited the bunker after years of hiding. There is a good chance that the first thing they would see would be mushrooms.
In the case of this project the mushrooms were Lithuanian pastries, that could be purchased in any market, grocery store, gas station and pretty much anywhere else. I recall my dad telling me a story that the year when Chernobyl happened the mushrooms were unusually large, it may have been true, knowing the fact that he spent his summers in Belarus, approximately 550km from Chernobyl, in the very middle of the radioactive cloud path.
A fact I found ironic is that my dad’s uncle was a forester, who found a new species of mushroom, that only grows in certain areas of Lithuania. The mushroom traveled here from north America, with he pine trees that the Germans planted there in the 30s. The mushroom was a type of boletus that the locals called Balsevičiukas (lat. Aureoboletus projectellus).
The biggest regret of this project is the fact I never came back, I didn’t revisit. I was excited to see how the piece decomposes over time. I found that very sad for the longest time, but now I look back at it, I wonder how it progressed. Maybe forgetting it, letting it be was the good decision, the sort of mystery left behind inspires in a way.
49.![]()
50.![]()
51.![]()
52.![]()
53.![]()
54.![]()
50.
51.
52.
53.
54.
Fig. 50 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 51 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 52 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 53 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 54 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
At this stage of my practice I am very aware of the view and their interaction with my work. This becomes an essential aspect of my practice, not only through ways of exhibiting but also through ways I produce my work. Reactive to the viewer, inspired by the viewer, consumable by the viewer.
Carsten Holler
An artist who was also greatly was affected by the viewer. He would study their behaviour and make work which required interaction. His work also inspired me to look into mushroom as a symbol and a tool to carry a message (Itsliquid, 2014).
55.![]()
56.![]()
57.![]()
58.![]()
Fig. 55 - Carsten Holler, New Long Term Project (2021)
56.
57.
58.
Fig. 56 - Carsten Holler, New Long Term Project (2021)
Fig. 57 - Carsten Holler, New Long Term Project (2021)
Fig. 58 - Carsten Holler, Upside-Down Mushroom Room (2000)
Richard Wentworth
An artist who sees the things that construct our every day life, the oddities in routine. His work has showed me that the work is about everything that you do, it’s not only about what you think is worthy, it’s also about everything in between. As other artists led me to the understanding that process of art making can be a work of art, his work showed me that any process, any moment and any feeling can be seen as works of art, the beauty of ordinary and thorough collection as a tool to distinguish what is valuable and what is not. Archive as a tool in art making (Middlehurst, 2016).
59.![]()
60.![]()
61.![]()
62.![]()
63.![]()
60.
61.
62.
63.
Fig. 60 - Richard Wentworth, Mirror Mirror (2003)
Fig. 61 - Richard Wentworth, Mode - Module - Modular (2004)
Fig. 62 - Richard Wentworth, Calais (2000)
Fig. 63 - Richard Wentworth, England (1978)
A new chapter is now beginning, I am looking for new ways to create and ways of moving forward as there are many temptations to create work on the topics that are currently booming I choose to remain in what interests me. I see my practise as a process, my life - exploration, my passion a compass. I call it transit...
Bibliography
Lithuanian Space Agency (No date), Available at: https://lithuanianspace.agency (Accessed: 22nd of May 2023)
fahrenheit magazine (2020), Available at:https://fahrenheitmagazine.com/en/modern-art/george-maciunas-the-architect-of-the-fluxus-stream (Accessed: 22nd of May 2023)
Rafal Zajko (no date), Available at: https://www.rafal-zajko.com (Accessed: 22nd of May 2023)
Schjeldahl (2014), The New Yorker, Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Lisson Gallery (no date), Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Wiki Art (2021), Available at: https://www.wikiart.org/en/marcel-broodthaers/casserole-and-closed-mussels-1964 (Accessed: 22nd of May 2023)
Gallery Uberall (no date), Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Artforum (no date), Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Itsliquid (2014), Available at: https://www.itsliquid.com/installations-carsten-holler.html (Accessed: 22nd of May 2023)
Middlehurst (2016), Steve Middlehurst Identity and Place, Available at: https://stevemiddlehurstidentityandplace.wordpress.com/2016/10/02/richard-wentworth-making-do-and-getting-by/ (Accessed: 22nd of May 2023)
Figures
Fig. 1 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 2 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 3 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 4 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 5 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 6 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 7 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 8 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 9 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig. 10 - Jonas Balsevičius, Lithuanian Goods (2021)
Fig.11 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.12 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.13 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig.14 - Julijonas Urbonas, Planet Full of People (2019), exhibition view by Aistė Valiūtė and Daumantas Plechavičius. Available at: https://www.galerijavartai.com/exhibitions/9-julijonas-urbonas-a-planet-of-people/ (Accessed: 22nd of May 2023)
Fig. 15 - George Maciunas, Products for Fluxus editions (1964). Available at: https://www.moma.org/collection/works/128262 (Accessed: 22nd of May 2023)
Fig. 16 - Peter J. Moore, George Maciunas performing his “Piano Piece no. 13” (aka “Carpenter’s Piano Piece”), Fluxhall, 359 Canal Street, NY, May 9, 1964 (1964). Available at: https://www.artnet.com/artists/peter-j-moore/george-maciunas-performing-his-piano-piece-no-13-a-QK8xm-xu2Bq6V773DNV0Pg2 (Accessed: 22nd of May 2023)
Fig. 17 - George Maciunas, Fluxpost (Smiles)(1978). Available at: (Accessed: 22nd of May 2023)
Fig. 18 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 19 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 20 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 21 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 22 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 23 - Karolina Žalėnaitė and Jonas Balsevičius, Love is... (2021)
Fig. 24 - Rafal Zajko, Siren V (Tableux)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 25 - Rafal Zajko, Siren VII (Helm)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 26 - Rafal Zajko, Siren X (Speaker)(2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 27 - Rafal Zajko, Siren XVIII (Armour) (2022). Available at: https://www.rafal-zajko.com/songtothesiren (Accessed: 22nd of May 2023)
Fig. 28 - Christopher Williams, “Kodak Three Point Reflection Guide ©1968, Eastman Kodak Company, 1968 (Corn) Photography by the Douglas M. Parker Studio, Glendale, California, April 17, 2003” (2003) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 29 - Christopher Williams, “Bouquet for Bas Jan Ader and Christopher D’Arcangelo” (1991) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 30 - Christopher Williams, “Erratum” (2000) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 31 - Christopher Williams, “RITTERSPORT” (2009) Available at: https://www.newyorker.com/magazine/2014/08/04/sharp-focus (Accessed: 22nd of May 2023)
Fig. 32 - Jonas Balsevičius, Untidy (2022).
Fig. 33 - Jonas Balsevičius, Untidy (2022).
Fig. 34 - Daniel Buren, Pile Up: High relief n°B12 (2018) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 35 - Daniel Buren, A Perimeter for a Room work in situ (2011) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 36 - Daniel Buren, Peinture acrylique sur tissu rayé blanc et jaune d'or (1989) Available at: https://www.lissongallery.com/artists/daniel-buren (Accessed: 22nd of May 2023)
Fig. 37 - Daniel Buren, De Travers et Trop Grand - Bleu, (2013) Available at: https://www.artsy.net/artwork/daniel-buren-de-travers-et-trop-grand-bleu-1 (Accessed: 22nd of May 2023)
Fig. 38 - Marcel Broodthaers, Untitled (Triptych). (1965–1966) Available at: https://www.moma.org/audio/playlist/25/457 (Accessed: 22nd of May 2023)
Fig. 39 - Marcel Broodthaers, Casserole and Closed Mussels (1964) Available at: https://www.wikiart.org/en/marcel-broodthaers/casserole-and-closed-mussels-1964 (Accessed: 22nd of May 2023)
Fig. 40 - Marcel Broodthaers, White Cabinet and White Table (1965) Available at: https://www.wikiart.org/en/marcel-broodthaers/white-cabinet-and-white-table-1965 (Accessed: 22nd of May 2023)
Fig. 41 - Marcel Broodthaers, I Return to Matter, I Rediscover the Tradition of the Primitives, Painting with Egg, Painting with Egg (1966) Available at: https://www.tate.org.uk/art/artworks/broodthaers-i-return-to-matter-i-rediscover-the-tradition-of-the-primitives-painting-with-t03089 (Accessed: 22nd of May 2023)
Fig. 42 - Galerie Uberall, Covid-19 vaccine (2021) Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 43 - Unknown, Untitled (2020) exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 44 - Beatričė Mockevičiūtė, Asukas (2019), exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 45 - Unknown, Untitled (2020) exhibited by Galerie Uberall Available at: https://galerieuberall.tumblr.com (Accessed: 22nd of May 2023)
Fig. 46 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 47 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 48 - David Hammons, Blizz-ard Ball Sale (1983) Available at: https://www.artforum.com/print/201806/bruce-hainley-on-elena-filipovic-s-david-hammons-bliz-aard-ball-sale-75510 (Accessed: 22nd of May 2023)
Fig. 49 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 50 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 51 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 52 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 53 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 54 - Jonas Balsevičius, Mushrooms/Grybukai (2021)
Fig. 55 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 56 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 57 - Carsten Holler, New Long Term Project (2021) Available at: https://www.galleriacontinua.com/artists/carsten-holler-93 (Accessed: 22nd of May 2023)
Fig. 58 - Carsten Holler, Upside-Down Mushroom Room (2000) Available at: https://www.itsliquid.com/installations-carsten-holler.html (Accessed: 22nd of May 2023)
Fig. 59 - Richard Wentworth, London (1976) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 60 - Richard Wentworth, Mirror Mirror (2003) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 61 - Richard Wentworth, Mode - Module - Modular (2004) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 62 - Richard Wentworth, Calais (2000) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)
Fig. 63 - Richard Wentworth, England (1978) Available at: https://www.lissongallery.com/artists/richard-wentworth/artworks (Accessed: 22nd of May 2023)