MA 2nd year students of the Department of Graphics invite you for a walk!
Teasers of the master's research will be exhibited in various locations in Vilnius.
December 4th
Arijus Pijus. Malūnų g. 5, room 321 (live translation) 14:10
Sviatlana Petushkova. GODO galerija, Malūnų g. 6A-12 14:40
Anhelina Blashchytsyna. Šv. Mykolo g. 15:10
Liepa Sofija Vareikaitė. Monument to Salomėja Neris, Vilniaus g. 16:00
Ieva Daščioraitė. National Gallery of Art, Konstitucijos pr. 22 16:50
December 11th
Leonardas Mekionis. ENTITY, Vitebsko g. 23 13:00
Titas Antanas Vilkaitis. Malūnų g. 5, room 321 14:10
Dmitry Pakhomov. T. Kosčiuškos g. 1 (former detention center, 2nd floor) 15:00
Anna Chostegian. T. Kosčiuškos g. 6 15:30
Matilde Solgaard Utsen. Malūnų g. 5 16:00
This is part of the lecture "Work of art–Space–Exposition" by Assoc. Prof. Dainius Liškevičius.
Poster author - Liepa Sofija Vareikaitė
Arijus Jurevičius
The teaser in an open natural space creates a relationship with the environment through a white cloth that later takes on the format of a flag. This draws a clear line towards the final work, which seemingly begins here. “Combing the Horses”has an anticipated but uncertain ending, which is why I also allowed the teaser to respond to circumstances. The foal, about whose death I wrote a poem, was meant to be part of the documentation for the final project. Its freedom—and the taking of that freedom through death—has become an increasingly overwhelming thought in my mind as I reflect on my master’s thesis.
Sviatlana Petushkova
Teaser "INVENTORY"
The teaser for my master's project "INVENTORY" explores the universal themes of displacement, loss, and finding a new place in the world. It showcases the few items I brought with me when I fled Belarus and arrived in Lithuania. These objects, random and seemingly insignificant, represent the vulnerability of a person who has lost not only their home but also their sense of security and belonging.
Homelessness here is more than the lack of a physical shelter. It’s a feeling of disconnection and uncertainty, of being uprooted from a familiar life. The items displayed in the teaser are fragments of that transitional state—reminders of a moment when my entire "home" fit into a car. They reflect the uncertainty and fragility experienced by countless refugees worldwide. This teaser highlights not just my personal journey but the broader crisis of displacement. It serves as a reminder that behind numbers and statistics are real human stories. Stories of people forced to leave everything behind, starting over in unfamiliar countries, often facing isolation and challenges in integrating into a new society.
The teaser’s minimalist display focuses on the emptiness surrounding these items. This emptiness symbolizes the sense of loss and absence felt during such a dramatic life change. The simple presentation draws attention to how little remains when someone is forced to leave their life behind.
Finding a New Home and Belonging
The teaser marks the beginning of a journey from homelessness to finding a new place in society. These items represent the starting point of a process that, over four years, led to creating a new sense of home and comfort in Lithuania. They serve as a foundation for reflecting on adaptation, integration, and building a life in a new country. "INVENTORY" uses the teaser to open a dialogue about how societies welcome those seeking refuge. How do we help displaced people adapt and feel included? What obstacles do they face? The teaser doesn’t provide answers but instead encourages viewers to reflect on displacement as a deeply human experience, rather than just a political issue.
By showing only the items I had when I arrived, the teaser highlights how little "home" can be reduced to in moments of crisis. It sets the stage for the full project, where I’ll present everything I’ve accumulated during my four years in Lithuania. While the teaser captures the past, the final project will celebrate a new home, comfort, and identity.
Anhelina Blashchytsyna
I recreate the process of the birth of the new life under toxic substances.
I show the stages of regeneration and mutation of flowers, but already under the
influence of toxic reality. The flower grows from the soil saturated with metals and
chemicals. The flower itself has become part of this new ecosystem and has
absorbed all consequences of the war. The plants grow, but with a different internal
code and external mutations.
I created small flower sculptures imitating metal. I show the growth of the flower in
dynamics. The metal flower shows that its entire inner system has become saturated
with metals, and it has become part of this new toxic ecosystem. The consequences
of soil pollution after war affected its internal structure and appearance. In my work, I
show these changes in dynamics from the first sprout to a new mutated flower.
A QR code will be placed next to each flower’s sculptures. If you scan the code, you
will open the video. The video shows the internal changes of the flower and the
molecular transformation under the influence of chemicals. How a new life is infected
in a contaminated and toxic post-war land.
Liepa Sofija Vareikaitė
Is it Memory or a Dream?
Installation near the Salomėja Nėris sculpture, Vilnius Street.
Organic glass, digital printing, digital content.
Is it Memory or a Dream? is part of my conceptual project, whose primary goal is to question the objectivity of memory and its physical witnesses (sculptures, photographs, diaries) and their factual permanence in the context of the present and future. This phenomenon is well illustrated by urban sculptural objects that appear and disappear (are removed and erected), their disappearance often caused not by natural or wear-related reasons but by the dynamic and ever-changing mindset of contemporary society.
Although the project idea covers a broader topic, the visualization of the project responds to the ongoing discussions about the removal of the Salomėja Nėris sculpture. By slightly satirizing this phenomenon, I propose an alternative solution—replacing the sculpture with a cut-out background using the aesthetics of PNG images (white-gray squares), so the sculpture is simultaneously removed (cut out of the cityscape) and yet remains in the same place.
Is it Memory or a Dream? is a question that serves as the conceptual axis of my project. It is neither provocation nor a mere attempt to draw attention. Its purpose is to prompt passersby, bowing their heads, to answer the questions, first and foremost, to themselves: can memory truly be objective? Can a long-lasting sculpture, vanishing from the city's landscape, symbolize the eternity of memory? Can the destruction of a sculpture erase this eternity? Does a sculpture, attempting to implant the past into the present, carrying so many multifaceted contexts, hold the power to become a tool for erasing collective trauma?
Ieva Daščioraitė
„Freedom“: A Light Installation on the Eastern Wall of the National Gallery of Art (NDG)
The original purpose of the “First Swallows” monument was to commemorate the achievements of the USSR's "brilliant cosmonauts." The monument itself is also described as "symbolic gates to the [former Revolution] museum, where the exhibition courtyards merge with the monument's squares." Today, it has become a symbol of Lithuania's freedom.
In its static silence, the sculpture has accumulated various stories, perspectives, and emotions. My proposed ephemeral installation of the “First Swallows” allows the sculpture to come alive and move, yielding to the viewer's manipulation: cutting, straightening, shrinking, and enlarging. During the lighting event, viewers will be invited to discuss this exploration.
I chose shadow as a medium because it aptly represents gray areas—what is unclear or unresolved. Vytenis Burokas articulated the essence of shadow as follows: "A shadow exists only when something blocks the light; there is always an intermediary. Can that intermediary be absent? Shadows might conceal something lost. What is illuminated is clear, recognizable, and without deception. But a shadow represents an untouched or incomplete zone, the dark side of the moon, where even communication with astronauts is obstructed."
Discussions often lack nuance, leaving no room for alternatives. This installation invites viewers to return to an intermediary state—a half-tone, where the “First Swallows” become liberated from the weight, rigidity, and stillness of metal.
Perhaps even a conversation—while bending and shaping the cutout or observing the shadow—can become more fluid and malleable.
Leonardas Mekionis
Art project „Artist manifest in everydays life“ teaser – video installation in exhibition space together with manifests on the exhibition space floor. Project is about everydays life documentation compared with other visual artworks and based on artist manifest. With this art project I am trying to analyze where art can exist in pretty basic everydays life situations. In video installation, those photos are compared with various artworks seen in different galleries throughout the years. The comparison happens between object and artwork in materiality, color, idea, size and form. Manifest on the ground floor gives the viewer an option on how to understand art as a phenomenon.
Titas Antanas Vilkaitis
three hills in vilnius
how do you accurately convey the incline of a street? neither precise topographical data nor an on-site sketch of the hill are particularly evocative by themselves. there is no common ground, no understanding what these things are meant to convey, how they should be interpreted.
and anyway, who gets to decide, which data is useful, and what's noise? maybe it would be better to go to the place and see for yourself.
Dmitry Pakhomov
In a darkest and coldest season
In one of the darkest places of Vilnius
Dmitry Pakhomov will present the first half of his comic book
About the darkest lore
Of the darkest country of all kind
Drawn on the paper as dark as carbon.
Called “Seyd”.
As you probably already understood it’s going to be literally dark and cold.
Take a warm coat and a searchlight.
You’re going to need it.
Otherwise you’ll miss something.
Meanwhile Something won’t miss you for sure.
Anna Chostegian
Meeting points
An object that fell out of the pages of a library book is akin to a time-defying sign of a meeting, one that never actually happened, but which has physical proof of the timelines of an individual's past and my present converging. The images of these objects go out into the streets and become part of the informational layers that pile up on various info-stands, windows and fences of abandoned buildings. All the chosen locations are in the streets that lead to a cinema, a library, a gallery or any other place that can facilitate a meeting, where a connection with another person can be made. Over time, these objects-signs become part of the accumulating paper-based "historical" information layer.
Matilde Solgaard Utsen
I will present a teaser for my teaser for my final exhibition, which consist of a detailed plan of an at first seemingly unrealistic project becomming realistic. I will show you how I plan to put art in a place that for a long time has been boringly kept for commercial purposes - and turn the A1 highway into a six-second-artshow.
