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'Every Dog is a Lion' by Ona Juciūtė at Editorial, Vilnius

Ona Juciūtė is a young generation sculpture artist, who is interested in how things are made, what the origins of materials are and their futures. The exhibition “Every Dog is a Lion” is about alterations of resources and collective decisions regarding their changes. The artworks exhibited act as glimpses into civilised everyday life, attempting to invite nature homewards.

- Did you hear that nowadays vanilla is pricier than silver? I’ve read about it recently.
 - By vanilla, you mean the spice?
 - Yeah, those black sticks. Apparently, it’s a bean containing seeds from a delicate breed of orchid. Kinda rare.
 - I know nothing about it, but it seems curious how vanilla and silver ended up together in one category. Metal and edible seed. Was the headline like that?
 - Yes, actually it was. I don’t know if it is nonsense. I see the connection - imagine that the category is something additional. Something extra, luxury, an unnecessary investment. An accessory, so to speak.
 - You think seasoning is an accessory?
 - That’s exactly what I think. Earrings for buns, necklaces for pastries, silk scarfs for pudding.
 - OK. Do you think the author of that article also saw this?
 - I guess so, if we see this as a change in general tendencies. The increasing price of vanilla could also signify a change in our mindsets that shows it’s no longer necessary to invest in something one can hold on to or leave to your next of kin. You buy it, eat it, digest it and return it back to the soil in a different substance and location.
 - So according to you, this vanilla situation signifies that people no longer care for stability, coins, and electrical conduction, and are buying overpriced fragrant seeds? Curious, but I am not sure if increasing the price necessarily says much about the people who are agreeing to pay more for it. Maybe it’s directly connected to a natural phenomenon - a summer, one that got too hot, or a drought that destroyed the crop or something similar. Maybe it was just an unfortunate year for vanilla orchids and they were less fruitful.
 - Yeah, that could be true. But I doubt that.


— Ona Juciūtė

9.9.20 — 10.10.20

Photo by Ugnius Gelguda

Editorial

'Social Agony Conscious Healing' by Jack Kennedy at Forth, Nottingham

'CELESTIAL POETICS', Group Show Curated by Liam Denny at Greenhouse Off-site, Mel

'GRAFT' by Amitai Romm at VEDA, Florence

'Terrapozzoli' by Martina Kügler at Mountains, Berlin

'Un perfume sin soporte, un gasto puro' by Marina Glez. Guerreiro and Raúl Lorenz

'Misty’s Tears', Off-Site Show by Gitte Maria Möller in Unitarian Church, Cape To

'Meditations on Entropy' by X Breidenbach at NIGHTTIMESTORY, Los Angeles

'Plague Expo Show', Group Project at Plague Office and Sasha Shardak's studio, Ka

'Re: Recover; Don't make angels dream of' by Yamamoto Shohei at Ritsuki Fujisaki

'Peel' by Stian Ådlandsvik at Van Etten Gallery, Oslo

'Figures of Speech', Group Show Curated by Dobroslawa Nowak and Nicola Nitido at

'Wet Wishes' by Laura Ní Fhlaibhín at Britta Rettberg, Munich

'The Descent', Off-Site Group Project at Mount Douglas Cave, Victoria

'Big Beat Disaster' by DIS at Project Native Informant, London

'Ambergris' by Ánima Correa at Hunter Shaw Fine Art, Los Angeles

'Necromancer' by Andrew Roberts at House of Chappaz, Valencia

Joshua Abelow at Kunsthalle Wichita

'Terminal B', Group Show Curated by PLAGUE at Smena, Kazan

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