Kasdien pabundame nujausdami tam tikr\u0105 scenarij\u0173. Tas scenarijus keistai pa\u017e\u012fstamas, nors ir ne iki galo ai\u0161kus. Sulig saul\u0117tekiu prasideda negailestingai i\u0161 anksto nulemtos temos variacija. D\u017eiaugsminga ar li\u016bdna, diena visuomet kvie\u010dia prie\u0161intis \u2013 gyventi be scenarijaus. B\u016bna dien\u0173, kai tenka paklusti, b\u016bna dien\u0173, kai reikia mai\u0161tauti, b\u016bna paliaub\u0173 dien\u0173. Dauguma baigiasi lygiosiomis arba pralaim\u0117jimu. Re\u010diau \u2013 pergale. Kiekviena diena yra atskira \u012fstabi kova. Ji at(si)naujina ir vis i\u0161 naujo pri(si)pildo nieko ne\u017ead\u0117dama. Kai kurie bando \u0161\u012f cikl\u0105 suvaldyti. Jie stebi, mokosi, \u012fsimena ir m\u0117gina numatyti d\u0117sningumus, ta\u010diau kaskart pritaikant tokias \u017einias t\u0117ra \u012fkvepiama, trumpam i\u0161siple\u010diama \u2013 i\u0161kv\u0117pimas nei\u0161vengiamas. Ir vis d\u0117lto kartais tas kv\u0117pavimas taip i\u0161t\u0119sia laik\u0105, jog pamir\u0161tame \u017eem\u0117s ir saul\u0117s susitarim\u0105. Kitiems tvarkingai suliniuotas grafikas taip ank\u0161tai apjuosia dien\u0105, kad tampa pa\u010dia diena. Susitelkus vien \u012f precizi\u0161k\u0105 \u0161viesos jud\u0117jim\u0105, radikalus paklusnumas ima rodytis kaip b\u016bdas pab\u0117gti. Dienos ciklas lengvai pasiduoda \u012fvairiausioms interpretacijoms, atspindin\u010dioms, kaip skirtingai j\u012f suvokiame. Galima b\u016bti pasiglem\u017etiems jo pan\u010di\u0173 arba net patirti juos kaip kone did\u017eiausi\u0105 laisv\u0119. Galima pasimesti ai\u0161kios strukt\u016bros r\u0117me ir nematyti sav\u0119s, bet galima ir visai nustoti prie\u0161intis ir priimti j\u012f kaip savo pa\u010di\u0173 kont\u016br\u0105. V\u0117lgi, galima i\u0161mokti pajusti vis\u0105 besikaupian\u010di\u0173 dien\u0173 j\u0117g\u0105, atsispiriant nepaliaujamos j\u0173 kaitos s\u0105lygotai mechaninei amnezijai. Ry\u017etingai, bet ir nesusireik\u0161minant, net su u\u017esispyrimu atmesti, kad pakanka dienos ritmo. Tai \u2013 tik keletas i\u0161 daugyb\u0117s galim\u0173 \u0161ios temos variacij\u0173, j\u0105 prisodrinan\u010di\u0173 ir \u017eadan\u010di\u0173 naujus susitikimus su anks\u010diau patirta laime.<\/p>\n
Parodoje \u201eTa pati diena\u201c dalyvauja: Rey Akdogan, Nick Bastis, Kazimierz Bendkowski, Geta Br\u0103tescu, Matt Browning, Tom Burr, Elene Chantladze, Josef Dabernig, Aria Dean ir Laszlo Horvath, Gintaras Did\u017eiapetris, Jason Dodge, Kevin Jerome Everson, Simone Forti, Mich\u00e8le Graf ir Selina Gr\u00fcter, Villu J\u00f5geva, Tarik Kiswanson, Michael Kleine, B\u011bla Kol\u00e1\u0159ov\u00e1, Ji\u0159\u00ed Kovanda, Kitty Kraus, Bradley Kronz, Kaarel Kurismaa, Simon L\u00e4ssig, Ian Law, Klara Lid\u00e9n, Jolanta Marcolla, Ugn\u0117 Nakait\u0117 su Urte Jarmu\u0161kaite ir Pranu Gustainiu, Elena Narbutait\u0117, Ewa Partum, Matthew Langan-Peck, Julie Peeters ir BILL, Cameron Rowland, Margaret Salmon, Stephen Sutcliffe, Tanya Syed, Jean-Marie Straub ir Dani\u00e8le Huillet, Ra\u0161a Todosijevi\u0107, Thanasis Totsikas, Maria Toumazou, Rosemarie Trockel, Christos Tzivelos, Mare Vint, Tanja Widmann, Marina Xenofontos ir Eiko Yamazawa. Parod\u0105 kuruoja Tom Engels ir Maya Tounta.<\/p>\n
Rugs\u0117jo 6\u20137 d. vyksian\u010dio parodos \u201eTa pati diena\u201c atidarymo savaitgalio metu bus pristatyta Andriaus Arutiuniano, Mette Edvardsen ir Iben Edvardsen, Toine Horverso, Danos Michel ir Eszter Salamon gyvai atliekam\u0173 k\u016brini\u0173 programa.<\/p>\n
Parodos pavadinimas pasiskolintas i\u0161 1984 m. Niujorke sukurto graik\u0173 poeto Emersono to paties pavadinimo eil\u0117ra\u0161\u010dio. \u0160is eil\u0117ra\u0161tis \u2013 dalis spausdinimo ma\u0161in\u0117le para\u0161yto ir anks\u010diau neskelbto eil\u0117ra\u0161\u010di\u0173 bei dain\u0173 rinkinio \u201eDainos be muzikos\u201c, surasto graik\u0173 fotografo George\u2019o Tourkovasilio archyve.<\/p>\n
2023 m. Lietuvos nacionaliniame dramos teatre Vilniuje \u012fvyko \u012fvadinis 15-osios Baltijos trienal\u0117s renginys, pagrindin\u0117s jos parodos \u201eTa pati diena\u201c prologas. \u0160io renginio pavadinimas \u201ePasiliki nulyje\u201c taip pat buvo pasiskolintas i\u0161 Emersono poezijos rinkinio. Renginio dalyviai: Betzy Bromberg, \u201eDraug\u0173 vardai\u201c, Emerson, Mette Edvardsen, Han-Gyeol Lie, Honour, Julie Peeters, James Richards, Koenraad Dedobbeleer, Margaret Rasp\u00e9, Remigijus Pa\u010d\u0117sa, Seiko ir Casio, Ugn\u0117 Nakait\u0117.<\/p>\n
Baigiamasis 15-osios Baltijos trienal\u0117s skyrius \u012fgaus spausdint\u0105 form\u0105 \u2013 Tomo Engelso ir Mayos Tountos parengtas ir Julie Peeters apipavidalintas leidinys bus i\u0161leistas 2025 m. viduryje.<\/p>\n
Pirmoji Baltijos trienal\u0117 surengta 1979 m. Vilniuje, joje pristatyta nekonformistin\u0117 jaun\u0173 Baltijos \u0161ali\u0173 meninink\u0173 k\u016bryba. Nuo tada renginys i\u0161augo iki vienos svarbiausi\u0173 tarptautini\u0173 parod\u0173 \u0160iaur\u0117s Europoje. Art\u0117janti trienal\u0117 \u2013 viena pirm\u0173j\u0173 tarptautini\u0173 parod\u0173, rengiam\u0173 \u0160iuolaikinio meno centre po beveik trejus metus trukusio pastato kapitalinio remonto. Parodos prad\u017eia sutampa su \u0161iuolaikinio meno festivaliu \u201eSurvival Kit 15\u201c Rygoje, tad lankytojai kvie\u010diami patyrin\u0117ti, kas \u0161\u012f ruden\u012f si\u016bloma kitose Baltijos \u0161alyse.<\/p>\n
Lenkij\u0105 atstovauj\u0105 trumpametra\u017eini\u0173 film\u0173 k\u016br\u0117jai: Ewa Partum, Kazimierz Bendkowski ir Jolanta Marcolla.<\/em><\/p>\n Ewa Partum<\/strong> Kasdien pabundame nujausdami tam tikr\u0105 scenarij\u0173. Tas scenarijus keistai pa\u017e\u012fstamas, nors ir ne iki galo ai\u0161kus. Sulig saul\u0117tekiu prasideda negailestingai i\u0161 anksto nulemtos temos variacija. D\u017eiaugsminga ar li\u016bdna, diena visuomet kvie\u010dia prie\u0161intis \u2013 gyventi be scenarijaus. B\u016bna dien\u0173, kai tenka paklusti, b\u016bna dien\u0173, kai reikia mai\u0161tauti, b\u016bna paliaub\u0173 dien\u0173. Dauguma baigiasi lygiosiomis arba pralaim\u0117jimu. Re\u010diau […]<\/p>\n","protected":false},"author":97,"featured_media":6378,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"inline_featured_image":false,"_monsterinsights_skip_tracking":false,"_monsterinsights_sitenote_active":false,"_monsterinsights_sitenote_note":"","_monsterinsights_sitenote_category":0,"footnotes":""},"categories":[31,13],"tags":[],"class_list":["post-6380","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-parodos","category-renginiai"],"yoast_head":"\n
Drawing TV, 1976
8mm film, digital transfer, black and white
6 min. 1 sec.
In Drawing TV, Ewa Partum directly intervenes in the television broadcast by using a felt-tip pen to add her own visual remarks onto the screen, disrupting the Polish People’s Republic news programmes. This act is a form of protest performed at home \u2013 a woman in her living room commenting on the state-controlled messages communicated through television, as well as the television as a numbing mass medium exerting power. By intervening in the image, Partum reclaims the means of production, transforming this act of defiance into one of activation and the creation of an alternative image in the broadest sense of the word. The work is part of her Tautological Cinema cycle, a series of experimental films that explore the materiality of film and its capacity to critique and deconstruct representation by emphasising repetition, self-reference, and the mechanical aspects of film production. A structuralist method, using an 8mm camera with a different frame rate than the television broadcast, causes the screen to flicker, creating formalist, and then symbolic, disruption.
Artwork: Courtesy of the artist and ARTUM Foundation ewa partum museum<\/p>\n
Kazimierz Bendkowski<\/strong>
Centre, 1973
35mm film, digital transfer, colour, sound
5 min. 20 sec.
Centre by Kazimierz Bendkowski immerses the screen in a whirling urban environment, dominated by the interplay of light, movement, and sound. Neon lights and light diodes, interwoven with the glow of advertisements, drape the cityscape and the screen. Vibrant visual elements pulse and flicker, while overlayed images create diffraction and multiplication, enhancing the sense of chaos and rhythm. The movement of cars and the camera adds to the kinetic energy, creating a hypnotic flow that guides the eye through the city’s labyrinthine spaces, blurring the lines between a kaleidoscopic reality and visual abstraction. Bendkowski contrasts these visually arresting scenes with an almost mathematical approach to editing and composition, as the sequences explore the tension between the chaotic energy of the city and the imposed editorial order. As part of the Workshop of Film Form (Warsztat Formy Filmowej) at the \u0141\u00f3d\u017a Film School, Centre stands for the group\u2019s approach, undoing cinematic narratives, creating space for the medium’s unusual formal and perceptual possibilities.
Artwork: Courtesy of the Archive of The Polish National Film School, \u0141\u00f3d\u017a<\/p>\n
Jolanta Marcolla<\/strong>
Kiss, 1975
16mm film, digital transfer, black and white, silent
1 min. 51 sec.
As one of the founding members of The Actual Art\u2019s Agency, a group of artists from the Academy of Fine Arts in Wroc\u0142aw, Jolanta Marcolla was among the first Polish female artists to explore video as an artistic medium. In Kiss, a looped sequence of a young woman (herself) sends a kiss directly to the viewer. Simultaneously filling and emptying the image of meaning, she transforms the perception of a seemingly simple, intimate gesture by way of structuralist replication. The continuous loop and repetitive imagery become both a meditation on the ritualistic aspects of love and its gestures intertwined with media consumption and a question about repetitive media representations and the way they can shape and distort perceptions of women, dilating the boundaries between a reality, a gesture, a feeling, an image, a gender, and their mediation.
Artwork: On loan from Kontakt Collection, Vienna. Courtesy of the artist and lokal_30, Warsaw<\/p>\n","protected":false},"excerpt":{"rendered":"