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GALLERIES EXCHANGE PROGRAMME: Eglė Pilkauskaitė Soap Between Fingers, ‘Galleri Toll’ (Stockholm)

On 9 June 2023, a single artwork exhibition by Eglė Pilkauskaitė opens at showcase gallery “Galleri Toll“ in Stockholm. The exhibition is the first part of an exchange programme between galleries in different countries, initiated by apiece. Vilnius has a number of active non-profit and independent galleries and project spaces, but there is still a lack of international exchange. In this particular case, rather than exhibiting foreign artists, the programme has been conceived and dedicated for various non-profit galleries allowing them to come and hold their exhibitions. Along with organising an exhibition for the Lithuanian public, this also means encouraging the galleries to get to know the Lithuanian fine art scene in more detail, to establish a dialogue with other similar organisations and artists, and to get to know their work. apiece is planning for such exchanges with galleries of different European cities to take place at least once a year, and the first result of such exchanges in Vilnius is the “Galleri Toll“ exhibition at apiece, starting on 2 July 2023.

Egle Pilkauskaitė gives importance to the environment around her and the questioning of society’s norms of beauty, aesthetics and certain beliefs. In her works she uses craft-oriented materials, along with various technologies and methodologies. She focuses on the process itself, exploring different textures and finishes that she tries to reflect rather than imitate.

Soap Between Fingers is based on the still-widespread belief that women’s needs, especially those related to the body, belong to the private rather than public space. Not unlike lye soap, which is hidden away from guests in a cupboard or pantry and is only used in a domestic setting. Soap, which is the main material in this work, takes on the connotation of a personal ritual of removing emotional dirt. Maintaining an authentic and recognisable texture and a link to private space aims at evoking memories and personal experiences. The latter are not based on romanticised nostalgia, as is often the case when talking about the past. For post-Soviet countries, the material used in the work is reminiscent of deprivation, scarcity of goods and poor living standards.

The shape of the work evokes the symbolism of the ring: not only that of marriage, but also of repetition and continuous action. Taking into account the shape of the work and the display-like space of the gallery, the artist reconstructs the latter into a jewellery shop window, which is traditionally associated with luxury goods and imagery of a better, more beautiful life. This juxtaposition creates an inverse situation which showcases what happens to an object (a ring) when it is transferred from a representational environment to an everyday one, and when it is no longer a desired dream but becomes part of someone’s personal history.

E. Pilkauskaitė’s Soap Between Fingers, presented at “Galleri Toll“, is full of meanings and associations. It not only comments on the themes of privacy, (un)cleanliness and values, but also illustrates the situation of the soap stuck between the ring and the finger. In a figurative sense, it is also a visualisation of seeking personal perfection through the nurturing of one’s exterior, while the soap residue is reminiscent of dirt accumulated in the subconscious, or may also be a reflection of certain rituals, such as hand-washing, which is a reminder of the pandemic and its consequences that are only now being understood.

Eglė Pilkauskaitė is an interdisciplinary artist living and working in Vilnius. She graduated from Camberwell College of Arts, University of the Arts London in 2014 with a BA in Drawing. Since 2016 she has been actively participating in exhibitions and art projects in Lithuania and abroad.

More about artist: pilkauskaite.com

Gallery apiece is a showcase-style gallery dedicated to exhibitions of artworks of contemporary visual art and/or conceptual design.

More about apiece:  apiece.lt

Galleri Toll is a non-institutional showcase-style gallery located at „Ropsten“, the last metro stop on the eastern part of Stockholm’s mainland, in the inner Stockholm archipelago.

More about Galleri Toll:  galleritoll.com

Exhibition is open until August 20, 2023

Exhibition curators: Milena Černiakaitė and Aušra Trakšelytė

Graphic Design: Marek Voida

Exhibition is organised in collaboration with the Lithuanian Cultural Attaché in Sweden, Finland and Denmark.

Exhibition is supported by the Lithuanian Culture Institute and Vilnius City Council

Eglė Pilkauskaitė sculpture SOIL SURFACE #2

ABOUT

Soil Surface #2 sculpture is a sculpture in which the imprint of the soil is cast in concrete slabs. According to the artist, it aims to make sense of the value of (the) “earth” being turned into an exhibit, and of the issues relating to the Anthropocene, all the while highlighting the importance of man’s physical relationship with nature.

UNIQUE OBJECT

13000 

Soil-cast Concrete, Steel 

H 138 cm X W 92 X L 92 cm

Eglė Pilkauskaitė is an interdisciplinary artist living and working in Vilnius. She graduated from Camberwell College of Arts, University of the Arts London in 2014 with a BA in Drawing. Since 2016 she has been actively participating in exhibitions and art projects in Lithuania and abroad.

REQUEST

Remigijus Praspaliauskas Wall Carpet HOMAGE TO ČIURLIONIS

ABOUT

Contemporary Wall Carpet questioning the authority of the first emoji. Is it possible that the author of the first emoji – Mikalojus Konstantinas Čiurlionis?

This theory about the emoji of a smiling face is based on a single fragment of a drawing found in one of Čiurlionis‘ sketchbooks. The reconstruction of the drawn fragment into the contemporary artwork by R. Praspaliauskas invites to wonder, if the original emoji was some kind of “message” left by Čiurlionis to us – the generation of social networking. Or was it a painter’s vision of the future, where people communicate using emotion icons rather than words?

UNIQUE DESIGN OBJECT

7200 

100% acrylic yarn, wood backing

H 2200 cm X W 1400 cm

Remigijus Praspaliauskas – a lyrical Samogitian gangster – is an author of texts, objects, and products. His creative practices focus on the search for surrealism rooted in words and illogical verbal constructs of the Lithuanian language, as well as in the very nature of an image. Together with his twin brother Egidijus, Remigijus is behind the well-known Egyboy fashion brand dedicated to “shake that dull reality”.

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Vladas Suncovas: Urban Delicacies

On April 7 V. Suncovas’ exhibition-research is opening at “apiece”, a showcase-style gallery strategically focusing on autonomic artistic expression. The exhibition presents various objects, fragments and models of conceptual design that have a specific function. Some of them are earlier unrealised ideas for public urban spaces, while others are new objects. These exhibits made available for viewers to consume and subjectively evaluate can be seen as alternative directions in creating identity for public spaces in Lithuania, and include details of children playgrounds, pieces of furniture, urban landscaping ideas, small-scale architecture and site-specific art, along with other urban elements. As the author of the exhibition himself puts it: “That which makes you smile doesn’t have to be silly; that which is childish doesn’t have to be straightforward; that which is patriotic isn’t always majestic – because it can all be both cosy and tasty”. So, one could likened the exhibition presented at “apiece” gallery to a menu at a new restaurant inviting viewers to enjoy the urban delicacies “freshly” prepared by V. Suncovas.

apiece: Vladas, were the associations of urban elements with delicacies dictated by form or aesthetics, and why did the works veer towards a dessert menu rather than a main course menu?

Vladas Suncovas: Actually, the work has both desserts and main courses. There are also other elements of a carefully set table: cutlery, napkins, toothpicks, spices, glasses, uninvited guests, produce gone bad, abandoned items and much more. I also use the word “delicacy” rather loosely, just to describe something that is exceptionally tasty. The tradition of serving tables in different themes is very old and exceptionally rich. Looking through my “fridge of ideas”, I realised that I have a lot of urban models, sketches and ideas related to food in one way or another. So I decided that it would be appropriate to exhibit these ideas by loosely interpreting the concept of a served table.

a.: Your works tend to be two different things at once, since one can easily recognise in them connections between, and methods of, different artistic movements, as well as associations having ambiguous purposes and imagery. Why is it important for you not to be “trapped” in the field of representational art alone?

V. S.: For starters, I think the answer is encoded in your question: since I make objects containing multiple meanings, they readily find their place in different contexts. When I think of an idea for a new project, I feel most comfortable when I don’t limit myself to a preconceived notion of where and for what purpose it will be realised. When I think of a gazebo shaped as a clementine peel, I experiment with the shape and materials, I let my imagination tun in all directions. Once I’ve reached a certain point, I realise that in order to develop it further, I need to move on to the second phase, which is preparing a specific project for specific clients, specific locations, etc. I would develop it one way as scenography, another way as an architectural pavilion for a public space and yet another way for a private space. Or else the idea could be best expressed as a painting, sculpture or short story.

Secondly, exhibition “Urban Delicacies” presents my initial ideas that haven’t yet reached their final shape. Some of them might be realised in the future, some will change shape as they get developed further and some other of these “dishes” are perfectly expressed as scale models.

a.: Artwork-research “Urban Delicacies” is based on creative reflection on Lithuanian public spaces and is presented at a one-piece showcase-style gallery located in a public space. Does the choice of the exhibiting space expand the meanings of the work?

V. S.: I’m very happy about the opportunity to present my ideas in this particular space. I do believe that „apiece“ gallery expands the understanding of the work and provides it with a specific context. Speaking of urban public space while being in this space constitutes a unique opportunity. I believe that exhibition “Urban Delicacies” will be viewed by people of different ages, social status and worldviews. This is especially important if we are to have a sane dialogue leading to changes.

Vladas Suncovas graduated from Vilnius Academy of Arts (BA) and the Royal Danish Academy of Fine Arts (MA). He uses architecture, design and technology to create spaces and tools that they require. V. Suncovas develops his creative practice by making art in public spaces, scenography, exhibition design, small architecture, installations, experimental furniture and educational projects. His work is characterised by modular, deployable constructions, mechanical elements of engineering, parametric design, as well as transformation of space through conceptually based, often critical solutions.

Exhibition curators: Milena Černiakaitė and Aušra Trakšelytė

Graphic Design: Marek Voida

Communication: Menų Komunikacija

Exhibition funded by Lithuanian Council for Culture

Exhibition open from April 7 to May 31 2023

Exhibition can be viewed 24/7

Michael Mccready FOAM LAMP

ABOUT

The ‘‘Foam’’ lamp is the second installment in the ‘‘Foam to Dust’’ collection. It’s soft light is perfect for creating a spiritual atmosphere mimicking the warm glow of a candle. When the lamp is off the bulb embodies the idea of self reflection.

The ‘‘Foam’’ lamp is made with Aluminium Foam. This material is strong, light and corrosion resistant.

The foam structure of the material allows to create volume and texture using a much smaller percentage of raw aluminium.

The “Foam” lamp is designed not only to satisfy the technical and aesthetic expression but also with reducing material consumption and waste. Aluminium is a highly recyclable metal with a low melting point and 75% of all aluminium producing is still in circulation today.

Each ‘‘Foam’’ Lamp is crafted by hand in our workshop and may take between 4-6 weeks to produce.

Michael Mccready FOAM LAMP (Table)

ABOUT

The ‘‘Foam’’ lamp is the second installment in the ‘‘Foam to Dust’’ collection. It’s soft light is perfect for creating a spiritual atmosphere mimicking the warm glow of a candle. When the lamp is off the bulb embodies the idea of self reflection.

The ‘‘Foam’’ lamp is made with Aluminium Foam. This material is strong, light and corrosion resistant.

The foam structure of the material allows to create volume and texture using a much smaller percentage of raw aluminium.

The “Foam” lamp is designed not only to satisfy the technical and aesthetic expression but also with reducing material consumption and waste. Aluminium is a highly recyclable metal with a low melting point and 75% of all aluminium producing is still in circulation today.

Each ‘‘Foam’’ Lamp is crafted by hand in our workshop and may take between 4-6 weeks to produce.

Saskia Fischer LIGHTS

ABOUT

LIGHTS is an installation of six hand-made neons. Possible to purchase whole installation or each object separately.

The illuminated sculptures possess an organic, bulbous, and feminine formal language, resembling phosphorescent vermicular creatures. The coloured borosilicate glass tubes contain the inert gases neon and argon. The contrast between the glass tints and the electrified gases creates a vibrant, animated visual effect. 

UNIQUE OBJECT

Light 1 (Twist) – 1400 €

Light 2 + Light 3 (Heart) – 2000 €

Light 4 (Snake) – 1800 €

Light 6 (Swirl) – 1100 €

Light 1 (Twist) – borosilicate glass (amber), neon, transformer, wire

Light 2 + Light 3 (Heart) – borosilicate glass (yellow, mid blue), argon, transformer, wire

Light 4 (Snake) – borosilicate glass (green), neon, transformer, wire

Light 6 (Swirl) – borosilicate glass (light pink), neon, transformer, wire

Light 1 (Twist) – ca. 90 cm

Light 2 + Light 3 (Heart) – ca. 70 cm + ca. 85 cm

Light 4 (Snake) – ca. 100 cm

Light 6 (Swirl) – ca. 50 cm

Saskia Fischer (Germany) is an interdisciplinary artist working with images, objects, texts, and environments. Her research is concerned with the paradigms that form and inform landscape as a reflection of cultural and social values. This research is expressed through photographs and installations synthesizing diverse media blending materials and motives from architecture, gender studies and art history. Saskia studied postgraduate fine art at Goldsmiths, University of London (2018), photography at Folkwang University in Essen (2015), and sculpture/installation at Estonian Academy of Arts (2014). 

REQUEST

MISSHAPEN conceptual jewellery line IOCUS: ring no4

ABOUT

Iocus (Latin) – a jest, a game, a minor amusement, a gem.

IOCUS is an open question about the significance of jewelry in modern life, our irrational desire for luxury, pleasures and things that have no practical value.

MISSHAPEN was born from the idea that the beauty of a piece of jewelry should not reflect traditional aesthetic values. While working on IOCUS, the idea of ​​deformation has moved from questions about material beauty to thoughts about our approach towards it. Perhaps an unusually-shaped piece of jewelry is not misshapen, but rather what we perceive to be an adornment. That is why the main material in the collection is dichroic glass. Used in place of a gemstone, it reflects light and changes colour depending on viewing angle, provoking the observer to get closer. And somewhat ironically, it reminds us that by reflecting on the environment, the jewelry becomes a part of it, rather than drawing attention to the person who is wearing it.

IOCUS consists of massive, atypical jewelry shapes that continue the idea of MISSHAPEN. The pieces look sculptural and should be seen as portable objects of contemporary design, created and handmade from silver and dichroic glass.

RING no4

180 

Silver, dichroic glass 

Glass lenght – 5.5cm

MISSHAPEN is a signal. The one sent by pairing together a human body with a unique on-body object. Loose in form but strong in message, MISSHAPEN handmade objects may require a body full of open-yet-sure personality. Well. That is the way your signal breaks through the ordinary glamour noise.

Arvydas Umbrasas sculpture the hunt

ABOUT

Arvydas Umbrasas’s research for this work took its starting point in the myth of The Cosmic Hunt. This myth tells the story of an animal which was chased and wounded by a man, bounced off the ground, leapt into the sky and turned into the Great Bear constellation.

UNIQUE OBJECT

7000 

Aluminum casting, cold-rolled steel, anti-rust paint, rubber 

H 1100 cm X W 1100 cm X L 3900 X 700 cm

Arvydas Umbrasas is a Vilnius-based artist. His sculptural works deal with cosmic bodies and their impact on the human imagination.

REQUEST

MISSHAPEN conceptual jewellery line IOCUS: earring no2

ABOUT

Iocus (Latin) – a jest, a game, a minor amusement, a gem.

IOCUS is an open question about the significance of jewelry in modern life, our irrational desire for luxury, pleasures and things that have no practical value.

MISSHAPEN was born from the idea that the beauty of a piece of jewelry should not reflect traditional aesthetic values. While working on IOCUS, the idea of ​​deformation has moved from questions about material beauty to thoughts about our approach towards it. Perhaps an unusually-shaped piece of jewelry is not misshapen, but rather what we perceive to be an adornment. That is why the main material in the collection is dichroic glass. Used in place of a gemstone, it reflects light and changes colour depending on viewing angle, provoking the observer to get closer. And somewhat ironically, it reminds us that by reflecting on the environment, the jewelry becomes a part of it, rather than drawing attention to the person who is wearing it.

IOCUS consists of massive, atypical jewelry shapes that continue the idea of MISSHAPEN. The pieces look sculptural and should be seen as portable objects of contemporary design, created and handmade from silver and dichroic glass.

EARRING no2

150 

Silver, dichroic glass 

L-12 cm, W-7cm

MISSHAPEN is a signal. The one sent by pairing together a human body with a unique on-body object. Loose in form but strong in message, MISSHAPEN handmade objects may require a body full of open-yet-sure personality. Well. That is the way your signal breaks through the ordinary glamour noise.

REQUEST