The exhibition 'Postidea' by Jurga Bailaitė, Ina Budrytė, Cooltūristės, Eglė Gineitytė, Orūnė Morkūnaitė, Paulina Eglė Pukytė, Eglė Ridikaitė, Laisvydė Šalčiūtė, Beatričė Vanagaitė, Marta Vosyliūtė and Laura Zala will be opened at VMU Art Gallery 101 (Laisvės av. 53) on the 27th of March at 5 pm.
Post-Idea is not another trendy post-, it's a contemporary condition, when clashes of ideas are overshadowed by "battles of minds" and drowned in an avalanche of information. This condition requires to rethink the thinking itself, and the articulation of ideas. Even though bold ideas seem to have died together with great narratives, the small ones still remain - albeit invisible, like housekeeping, or female artists of the early 20th century, eschewed by the canonised history of art.
In 2006, Moderna Museet in Stockholm launched its vision of The Second Museum of our Wishes, initially with a debate article by director of the museum Lars Nittve. “Instead of 100 per cent men, 100 per cent women” was the motto in an article, which started the campaign for improved gender balance in the collection. In three years Moderna Museet has received SEK 42 million from private individuals and the government and enhanced the collection with a total of 24 works by 13 great women artists.
In museums and art exhibitions the disproportionate gender representation is still obvious, even though everybody agrees that creativity does not depend on gender. This situation needs changing, therefore an all-female exhibition today is not only about art, but also about the politics of art. The exhibition of women artists that opens on the 8th of March with the support of European Institute For Gender Equality, draws attention to the aim of equal representation. The artists in the show are connected by the strive to have their own opinion and voice. They want to be visible instead of hiding behind some broad shoulders.
Invisibility - one of the conceptual threads connecting the artists. Women artists are pushed to the margins or "forgotten", their works disappear, become invisible or unrealisable. Jurga Barilaitė exhibits black canvases with titles of planned but unrealised films. Eglė Ridikaitė has painted a scene from a detective story - about the disappearance of her paintings on their way to the Moscow Biennial, later spotted gracing the walls of an underground station. The artist had to buy them out herself.
Beatričė Vanagaitė is questioning the representation of naked female body in photography and her own relationship with such images. She inserts herself into a photograph, holding a print and commenting on it with her gestures. Laura Zala turns the lens on herself, highlighting the dualism of female experience. In her series Internal Conflict we see not one but two authors.
Ina Budrytė's subject is flying men. According to philosopher Jūratė Baranova, a man is destined to swim and a woman is destined to wait. Can we draw a parallel that a man is destined to fly, and a woman to fall? There are no falling women in the show, but there are those who would act out an Air Show, like Orūnė Morkūnaitė, or meditate with a paintbrush, like Eglė Gineitytė.
Post-idea is a place where transitional spaces and transiting ideas meet. Marta Vosyliūtė transforms the romantic myth of national landscape: she turns Čiurlionis paintings into a comic strip and Nida's vistas into ironic illustrations of stereotypes. Laisvydė Šalčiūtė is showing a series called Totally Private inspired by Slavoj Žižek's texts and female transformations noted in fairytales.
Paulina Eglė Pukytė's moving images Message and Dance, while visually different, raise similar questions: do we receive a message, or just its semblance, or its parody? Cooltūristės, having reviewed the history of Lithuanian participation in Venice Biennale, are asking: do female artists have to be accompanied by men when they represent Lithuania?
The questions raised in the Postidea exhibition are as urgent as ever, therefore its time is ∞ March.