8th Baltic Triennial of International Art. (Reviews: Vilnivs).CONTEMPORARY ART CENTRE/OLD PRINTING HOUSE Europe's geographic center lies farther east than one might expect; specifically, in the vicinity of the Lithuanian capital, Vilnius. It is to this fact that the canny Tobias Berger, Fluxus specialist from Kassel and curator of the 8th Baltic Triennial tri·en·ni·al adj. 1. Occurring every third year. 2. Lasting three years. n. 1. A third anniversary. 2. A ceremony or celebration occurring every three years. , owes the title and theme of his exhibition. "Centre of Attraction" dealt with the attraction of the idea of "center" but also with conventional modes of fullness and emptiness, chaos and structure, power and control. As an outspoken fan of biennials, Berger defends this hotly contested format for reasons both pragmatic and symbolic: A biennial generates centers, and thus public attention, even if for just a short while. A quick tour through the Contemporary Art Centre and the beat-up Old Printing House, where once upon a time Pravda wound its way through the presses, made clear that "Eastern art" no longer exists as a genre. Berger's model was refreshingly undogmatic, and his investigations radiated in concentric circles from the nucleus of Lithuania, across Scandinavia, Poland, and Belarus, and farther out farther out Of or relating to an option contract with a later expiration date than a contract that is currently owned or being considered. For example, a contract with a May expiration date is farther out than a contract with a February expiration date of to Japan, New Zealand, and the United States. On hand were fifty-five artists, duos, and groups, several of whom exhibited site-specific works: Christian Jankowski asked Lithuanian president Valdas Adamkus questions on art and politics and projected the answers in the main hall of the CAC See Consumer Advisory Council. using display lights that were part of the country's stage equipment for Expo 2000 in Hannover. A video piece by Audrius Novickas in the entrance also revolved around the president, who always takes his official visitors, from Chirac to Schroder, on the same tour through the old city, always on the same route, the same routine. The presi dential axis continued with Sarah Morris's film Capital, 2000, which shows Bill Clinton's helicopter landing in Washington, DC. In the clerestory clerestory or clearstory (both: klĭr`stōr'ē, –stôr'ē), a part of a building whose walls rise higher than the roofs of adjoining parts of the structure. room, the Swiss artists Hendrikje Kuhne and Beat Klein constructed a cityscape (company) CityScape - A re-seller of Internet connections to the PIPEX backbone. E-Mail: <sales@cityscape.co.uk>. Address: CityScape Internet Services, 59 Wycliffe Rd., Cambridge, CB1 3JE, England. Telephone: +44 (1223) 566 950. out of cutouts from travel brochures; the late Mark Lombardi's drawings graphed networks behind criminal cases and the collapse of an investment bank; local fixture Deimantas Narkevicius cinematically chauffeured visitors to the center of Europe in just over nine minutes, in the process turning that geographic destination into an ideological site. In the courtyard Monica Bonvicini installed Stone Walls 2, 2002, a steel framework with broken panes of glass alluding to the uprising at the Stonewall stone·wall v. stone·walled, stone·wall·ing, stone·walls v.intr. 1. Informal a. , a New York gay bar, in 1969. In the dark basement of the Old Printing House were videos (Egle Rakauskaite showed dawn bathing a Lithuanian market in its rosy light; Asta Groting presented a laconic la·con·ic adj. Using or marked by the use of few words; terse or concise. See Synonyms at silent. [Latin Lac observation of the daily struggle for parking spots in Berlin) as well as sculpture (Marjetica Potrc's reconstruction of a slum shanty shanty, in music: see chantey. was adorned by the younger artists Bjorn Dahlem and Rene Zeh with grandiose constructions of miscellaneous materials). Elsewhere, performative per·for·ma·tive adj. Relating to or being an utterance that peforms an act or creates a state of affairs by the fact of its being uttered under appropriate or conventional circumstances, as a justice of the peace uttering pieces full of wit, irony, and a touch of hard-core came from the Siberian Bluenose-Group and the Polish group Azorro, while Pawel Althamer offered social interventions. Conceptual photography by Sean Snyder and posters by Jakob Kolding provided counterpoint to bountiful painting installations (Ieva Mediodia) and computer simulations (Rieko Akatsuka). Franz Ackermann painted a construction fence; Peter Robinson brought his "identity bazaar" installation The End of the 20th Century, 2000; Lukasz Gorczyca assembled postcards of prefab buildings; and Vladimir Arkhipov colle cted folkloristic everyday objects from Russia. From the distance sounded Ennio Morricone's beguiling theme from Once upon a Time in the West. The dreamboy in Salla Tykka's Lasso, 2000, swung his lariat lariat: see lasso. and an awkward teenager's heart skipped a beat. |
|
||||||||||||||||||

Printer friendly
Cite/link
Email
Feedback
Reader Opinion