Books by Karolina Rybaciauskaite
Tai trečias bandymas (I tomas išleistas 2011 m., II tomas – 2014 m.) sudaryti istorijų rinkinį ap... more Tai trečias bandymas (I tomas išleistas 2011 m., II tomas – 2014 m.) sudaryti istorijų rinkinį apie šiuolaikinio meno genezę ir raidą Lietuvoje nuo šaltųjų 1980-ųjų, Sąjūdžio ir Nepriklausomybės atkūrimo iki šių dienų. Istorija skleidžiasi kritiniuose menotyrinink(i)ų bei meninink(i)ų tekstuose ir liudijimuose iš pirmų lūpų – įvykius ir meno renginius inicijavusių meninink(i)ų, kritik(i)ų ir kuratorių pasakojimuose. Tekstus gausiai papildo vaizdiniai liudijimai – keturiasdešimt dvejų metų renginių ir kūrinių dokumentacija. Knyga patraukia subjektyviomis istorijomis apie menines ir kuratorines iniciatyvas ir savivaldas įvairiuose Lietuvos miestuose ir užsienyje.
ENGLISH
This is the third attempt (1st volume of the book was published in 2011, the 2nd in 2014) to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of cold 1980s, Revival (1987) and the restoration of Lithuania’s Independence (1990) to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events. Texts are accompanied by abundant visual evidence – the documentation of forty-two years’ worth of events and works of art. The book offers a captivating kaleidoscope of subjective stories about artists’ and curators’ initiatives in Vilnius and other cities in Lithuania as well as abroad.
Pokalbiai su menininkais, kuratoriais ir menotyrininkais / Conversations with artists, curators and art critics
Česlovas Lukenskas, Rūta Drabavičiūtė-Lukenskienė, Ramūnas Paniulaitis, Arūnas Kulikauskas, Aleksas Andriuškevičius, Darius Čiuta, Redas Diržys, Sigitas Krutulys, Benas Šarka, Juozas Milašius, Audrius Šimkūnas, Armantas Gečiauskas-Arma Agharta, Vita Zaman, Mantas Kazakevičius, Tomas Danilevičius, Reda Aurylaitė, Rolandas Marčius, Skaistė Marčienė, Ignas Gleixner, Saulius Paukštys, Rytis Bartkus, Stasys Banifacius Ieva, Inesa Brašiškė, Gerda Paliušytė, Lina Rukevičiūtė, Laurynas Skeisgiela, Milda Dainovskytė, Justina Zubaitė, Tomas Lučiūnas, Simonas Nekrošius, Živilė Lukšytė, Marius Juknevičius, Vilma Fiokla Kiurė, Aistė Kisarauskaitė, Aistė Ulubey, Kristina Savickienė, Robertas Narkus, Evelina Šimkutė, Juozas Laivys, Lina Praudzinskaitė, Jurgita Žvinklytė, Tomas Karklinis, Laura Garbštienė, Elena Juzulėnaitė, Stanislovas Tomas, Gintaras Čaikauskas, Sabina Daugėlienė, Margarita Kaučikaitė, Matas Šiupšinskas, Šarūnas Petrauskas, Svetlana Šuvajeva, Ilja Budraitskis, Vytautas Michelkevičius, Kęstutis Šapoka, Karolina Rybačiauskaitė
Tekstai / Texts by
Lina Michelkevičė, Redas Diržys & Kęstutis Šapoka, Karolina Sadlauskaitė, Karolina Rybačiauskaitė, Jurij Dobriakov, Raimundas Eimontas, Laima Kreivytė, Artūras Raila
ENGLISH
This is the third attempt (1st volume of the book was published in 2011, the 2nd in 2014) to compile stories about the genesis and evolution of contemporary art in Lithuania from the period of cold 1980s, Revival (1987) and the restoration of Lithuania’s Independence (1990) to this day. History unfolds in the critical texts by art critics and artists themselves, as well as in first-hand accounts – conversations with the initiators of art events. Texts are accompanied by abundant visual evidence – the documentation of forty-two years’ worth of events and works of art. The book offers a captivating kaleidoscope of subjective stories about artists’ and curators’ initiatives in Vilnius and other cities in Lithuania as well as abroad.
Pokalbiai su menininkais, kuratoriais ir menotyrininkais / Conversations with artists, curators and art critics
Česlovas Lukenskas, Rūta Drabavičiūtė-Lukenskienė, Ramūnas Paniulaitis, Arūnas Kulikauskas, Aleksas Andriuškevičius, Darius Čiuta, Redas Diržys, Sigitas Krutulys, Benas Šarka, Juozas Milašius, Audrius Šimkūnas, Armantas Gečiauskas-Arma Agharta, Vita Zaman, Mantas Kazakevičius, Tomas Danilevičius, Reda Aurylaitė, Rolandas Marčius, Skaistė Marčienė, Ignas Gleixner, Saulius Paukštys, Rytis Bartkus, Stasys Banifacius Ieva, Inesa Brašiškė, Gerda Paliušytė, Lina Rukevičiūtė, Laurynas Skeisgiela, Milda Dainovskytė, Justina Zubaitė, Tomas Lučiūnas, Simonas Nekrošius, Živilė Lukšytė, Marius Juknevičius, Vilma Fiokla Kiurė, Aistė Kisarauskaitė, Aistė Ulubey, Kristina Savickienė, Robertas Narkus, Evelina Šimkutė, Juozas Laivys, Lina Praudzinskaitė, Jurgita Žvinklytė, Tomas Karklinis, Laura Garbštienė, Elena Juzulėnaitė, Stanislovas Tomas, Gintaras Čaikauskas, Sabina Daugėlienė, Margarita Kaučikaitė, Matas Šiupšinskas, Šarūnas Petrauskas, Svetlana Šuvajeva, Ilja Budraitskis, Vytautas Michelkevičius, Kęstutis Šapoka, Karolina Rybačiauskaitė
Tekstai / Texts by
Lina Michelkevičė, Redas Diržys & Kęstutis Šapoka, Karolina Sadlauskaitė, Karolina Rybačiauskaitė, Jurij Dobriakov, Raimundas Eimontas, Laima Kreivytė, Artūras Raila
Malonioji 6: projektų erdvė / project space (ed. Karolina Rybačiauskaitė), Vilnius: LTMKS, 2015
It is a canvas-book-cover illustrated catalogue of project space "Malonioji 6" which documents ex... more It is a canvas-book-cover illustrated catalogue of project space "Malonioji 6" which documents exhibitions, open studios, artist talk nights, creative workshops and other events organised and curated in 2014 and 2015 by Lithuanian Interdisciplinary Artists' Association (LTMKS).
"Malonioji 6" was not just an art gallery, but rather a project space which would transform into a gallery, or a meeting place, a creative workshop or laboratory, platform for exchange of knowledge, space for talks and discussions, concert or performance space, or just a garden with a grill. Occurrencies, appearances, manifestations of interdisciplinary art were constantly present in the air of “Malonioji 6” as well as in its networks, which functioned as an organic body of people, events, ideas and artifacts.
We hope that not just art professionals but also wider audiences will find this catalogue interesting. It opens up multiple possibilities of interdisciplinary art and its connections to other fields. This book may also serve as a visual and textual guide for the endless internet space as it provides links and extracts from reviews on the listed exhibitions.
Malonioji 6: projektų erdvė / project space, ed. Karolina Rybačiauskaitė, design Laura Grigaliūnaitė, language LT / EN, Vilnius: LTMKS, 2015, 168 p, hardcover.
"Malonioji 6" was not just an art gallery, but rather a project space which would transform into a gallery, or a meeting place, a creative workshop or laboratory, platform for exchange of knowledge, space for talks and discussions, concert or performance space, or just a garden with a grill. Occurrencies, appearances, manifestations of interdisciplinary art were constantly present in the air of “Malonioji 6” as well as in its networks, which functioned as an organic body of people, events, ideas and artifacts.
We hope that not just art professionals but also wider audiences will find this catalogue interesting. It opens up multiple possibilities of interdisciplinary art and its connections to other fields. This book may also serve as a visual and textual guide for the endless internet space as it provides links and extracts from reviews on the listed exhibitions.
Malonioji 6: projektų erdvė / project space, ed. Karolina Rybačiauskaitė, design Laura Grigaliūnaitė, language LT / EN, Vilnius: LTMKS, 2015, 168 p, hardcover.
Papers by Karolina Rybaciauskaite
Journal of Posthumanism, 2022
This article seeks to further the discussion of mimesis in the current new materialist philosophi... more This article seeks to further the discussion of mimesis in the current new materialist philosophies that are charged with doubts about the potential of mimetic practices, i.e., practices of reflection, and propose a more differential / diffractive notion of mimesis. It argues that the concept of mimesis and performative approaches to knowledge making can be compatible. The figures of mimesis appear in the conceptualizations of both reflective and diffractive practices, and if mimesis is considered rather as a diffractive operation, it could be seen as having a different efficacy and ethico-political function. Drawing on Karen Barad's and Isabelle Stengers' arguments, I start by showing why in the representationalist view of knowledge making, the tool of mimesis is dysfunctional - it is a way of separating and classifying copies of reality. Then, I introduce a diffractive notion of mimesis in line with the mimetic return in posthuman studies. From the perspective of relational understanding of knowledge making supported in Barad's and Stengers' ethico-political proposals, mimesis can be perceived as a tool for provoking change and thus, imply a need to do it carefully.
Athena: Philosophical Studies (14), 2019
In this article, it is claimed that by considering Rancière’s understanding of politics of aesthe... more In this article, it is claimed that by considering Rancière’s understanding of politics of aesthetics alongside Stengers’ conception of the ecology of practices, it is possible to think about the autonomy of artistic practices that would be created and sustained politically. Rancière demonstrates that artistic autonomy was previously subordinated to a variety of historical imperatives, while Stengers warns about an apolitical mission of the great narrative of the Anthropocene. Both philosophers make a case for talking about the autonomy of artistic practices based on political differing, but in Stengers’ philosophy, the political principle of dissensus is supported by an ecological perspective. She argues for a symbiotic consensus, where the political is defined as being both contradictory and attuned to the situational interconnectedness. In the destructive environment of the Anthropocene, Stengers challenges the tradition of critical reflexivity and proposes a way out – the autonomy of practices that is not universally given but needs to be constantly recomposed together.
Acta Paedagogica Vilnensia, 2020
In this article it is argued that the optical metaphor and critical practice of diffraction furth... more In this article it is argued that the optical metaphor and critical practice of diffraction further developed by Donna Haraway and Karen Barad might be no less significant than the widely spread notion of reflection, when the questions of various practices of knowledge are addressed. By considering Paul Ramsden's approach to learning/teaching and its underlying theory in higher education alongside Karen Barad's methodology of diffraction, it is shown that Ramsden's understanding of learning/teaching is rather based on the theoretical assumptions of diffractive practice. His notion that teaching/learning are closely related and actively shaping each other, and that learners are not disconnected from the environment and their previous experiences with the subject matter and learning process itself, adds to Barad's onto-epistemological position that knowers know the world at the same time as being the part of the world in its ongoing intra-activity. Ramsden's understanding of relation is diffractive, because it is not about predefined binary entities and their fixed identities, but about layers and entanglements of various previous experiences and reactions to the learning environment. In addition, looking at learning/teaching processes through a different perspective also leads to a different approach to teaching and other ways of problem-solving. Both Ramsden and Barad distrust homologies, analogies, and causality-based conceptions of knowledge sharing. Instead, the ability to respond to an always new learning/teaching environment is assessed, which implies a diffractive type of sensitivity to the context, iterative process of returning, and the creation of dangerously indeterminate relationships and commitments. In this way, some of Barad's philosophical notions, i.e., the diffraction pattern, intra-activity, returning, and others, also may acquire new practical content.
ACTA UNIVERSITATIS CAROLINAE: PHILOSOPHICA ET HISTORICA 2 / Z POMOCNÝCH VĚD HISTORICKÝCH, 2020
In this paper it is claimed that if we want to come across such binary oppositions as modernism/s... more In this paper it is claimed that if we want to come across such binary oppositions as modernism/social realism, official/non-official, political/apolitical, often used while thinking about modern art in the post-socialist and post-soviet countries, we need to re-think the theoretical premises of artistic modernism more radically. By analysing Rancière’s theory and his critique to Clement Greenberg’s assumptions, it is demonstrated that if we would think we would think about the modern art of 20th century not as an autonomous space, which needed to prove itself within the development of history or the external social and political effects, but as the intersection of all three regimes by Rancière, we may be able to write more fluid histories of modern art. In the space of searching for the new typical forms and creating the sensible fabric of common life, it is possible to think about the artistic forms and contents across the different regions.
Problemos, vol. 97, 2020
By analysing Jacques Rancière’s conception of art regimes and taking the practical example of pai... more By analysing Jacques Rancière’s conception of art regimes and taking the practical example of paintings by Lithuanian artist Vincas Kisarauskas, it is demonstrated that by thinking about the modern art in the 20th century as the intersection of the three art regimes by Rancière, we might escape from the binary oppositions still prevailing in the interpretations of modern art in post-soviet and post-socialist countries, and also escape the current narratives of late and silent modernisms implying the belatedness and disability of modern art created in Soviet Lithuania. By writing histories of modern art with Rancière, it is possible to claim that at least a part of Lithuanian modern art is neither late nor silent. On the contrary, the part operating in the aesthetic regime of art becomes a space of search for the new tropes of expression and of the common sensual fabric of life.
Acta Academiae Artium Vilnensis (94), 2019
Three concrete instances of modern and contemporary art development in the former Soviet bloc are... more Three concrete instances of modern and contemporary art development in the former Soviet bloc are addressed in the study. Comparing three particular cases of post-socialist countries (Czechoslovakia, Poland and Lithuania), three distinctive situations are identified in order to establish a link between modern and contemporary art and the emergence of canonized stories of their development. Although these concrete cases turned out to represent a certain range of situations-models that have taken place, the study indicates a variety of omissions and unrecognized vital moments in the currently prevailing canons, which puts the connection of the shifting point of 1989 and the transition from modern to contemporary art into a new light.
Articles by Karolina Rybaciauskaite
(Ne)priklausomo šiuolaikinio meno istorijos: savivaldos ir iniciatyvos Lietuvoje, 1980-2022, III tomas / (In)dependent Contemporary Art Histories. Artist-run Initiatives in Lithuania, 1980-2022, 3rd volume (eds. Vytautas Michelkevičius, Karolina Rybačiauskaitė, Kęstutis Šapoka), Vilnius: Mene, LTMKS, 2022
Locomotif Lentvaryje / Locomotif in Lentvaris (eds. Milda Dainovskytė, Laurynas Skeisgiela), Vilnius: Naujųjų medijų dizaino studija, 2022
Dainius Liškevičius: Labyrinthus (ed. Agnė Narušytė), Vilnius: Lapas, 2018
Nidos meno kolonija. Apie naujumą / Nida Art Colony. On Newness (ed. Jogintė Bučinskaitė), Nida: Nidos meno kolonija, 2017