image text special shop

'Sphynx' by Robertas Narkus at Editorial, Vilnius

article image; primary-color: #CEC4BA;
Exhibition view
article image; primary-color: #C7CAC3;
Robertas Narkus, Grail, 2019
article image; primary-color: #A0998F;
Robertas Narkus, Master, 2019
article image; primary-color: #C0C0BE;
Robertas Narkus, Thank you for the hospitality, 2019
article image; primary-color: #BBB4AC;
Exhibition view
article image; primary-color: #D2C8BC;
Robertas Narkus, Very begining, 2019
article image; primary-color: #CDC4BB;
Exhibition view
article image; primary-color: #C6BAAE;
Exhibition view
article image; primary-color: #C7C0BA;
Robertas Narkus, Amphora, 2019
article image; primary-color: #908F8D;
Robertas Narkus, Warrior, 2019
article image; primary-color: #9D9996;
Robertas Narkus, Trought the winter fish stay at the bottom, 2019
article image; primary-color: #D8D1C9;
Robertas Narkus, Trought the winter fish stay at the bottom, 2019
article image; primary-color: #BCB2A6;
Exhibition view

In the summer I spent a few months in Liverpool, such a strange city, searching for hope, having once seen its own golden age and been the richest harbour in the United Kingdom, and, by the way – the first and last registration point for the Titanic. Today, in Liverpool, the spirit of co-working and start-ups is strongly stimulated, however, most of these spaces are empty and the promise of a better future keeps getting delayed. I stayed in a skyscraper, twenty-first floor, the apartment of an American composer and his wife, an author, from which you could see a wonderful view, cruise ships passing by once in a while, and the city's plans for the future. I enjoyed walking around the district of former docks, but most of all I liked hanging around the parking lot of an abandoned shopping centre. On my first time there I was welcomed by savage street kids from the nearby trailer park community. After realizing that I am a foreigner, they prompted me to say in Liverpoolian – "I am a sausage" – pulling out a phone with the intention to film it. I felt alien and naive, and remembered my childhood in Justiniškės. We did not bond at all. Screw them. They don't know yet that after I leave, bulldozers will not take long to come, destroy their sheds, and this will be a hub of creative industries. The lot was cosy, surrounded by overgrown and jungle-like hedges, which protected it from the noise of a street stretching nearby. Scattered around were shopping trolleys, various appliances, a toilet bowl, a one-meter wide replica of a compass, sneakers. But the longest shadow was cast on the lot by an outdoor billboard growing out from the fence. For years, constantly changing advertising campaigns were layered on it, but sometimes those layers had to be peeled off and everything began anew. And the old banners, torn up like ill-meaning photographs, could be abandoned in the bushes, which is exactly where I found them. I piled them up in one of the trolleys, pushed it back home, called up a courier discovered through adverts, however, a bus with tinted windows rolled up, which, alongside with things, was taking home my exhausted countrymen. In Vilnius, I spread these shreds on the floor of my study and took a paper knife to them, cutting out figures possibly resembling drawings of Egyptian pyramids which I have not seen, since when I was in Egypt many years ago we were filming an advertisement and I spent almost all of my time in the hotel.

3.2.19 — 3.3.19

Editorial

'Thundercage 31' by Matthias Odin and Valentin Begarin at Thunder Cage, Aubervill

'Brown Carpet' by Harley Kuyck-Cohen at Slugtown, Newcastle

'Big Pie' by Anna Taganzeva-Kobzeva at devyatnadtsat gallery, Moscow

'The Remains of Genetic Salon' by Bobby Yu Shuk Pui at Podium, Oslo

'Ultra-gentle manipulation of delicate structures' by Alicia Adamerovich at Proje

'Unfollow you, dark doom, honey' by Nika Temeeva at Spas Setun, Moscow

'NOCLIPLILT' by Rolf Nowotny 
at Simian
, Copenhagen

'Sombre Dimanche' by Julie Béna at Longtermhandstand, Budapest

'ANIMA MUNDI' by Gwen and Ernest Gachet at 13 Vitrine, Prilly

'Through Puberty to Success', Group Show at Shore, Vienna

'Ominous Tales of a Dreaming Wrinkle', Group Show at Scherben, Berlin

‘PO RA’ by Stasia Grishina and Anton Andrienko at IP Vinogradov, Moscow

'The Hierarchy of Lows' by Laura Gozlan at Les Bains-Douches, Alençon

'I heard myself close my eyes, then open them', Group Show at BRAUNSFELDER, Colog

'The Eye, the Hands, the Lunacy of Lunar Sightings' by Monia Ben Hamouda at jevou

'Penumbra' by Sarah Księska at Ramiken, New York

'Neuzeit Grotesk', Group Show Curated by Camila McHugh at Gunia Nowik Gallery, Wa

'not before it has forgotten you' by Group Show at NıCOLETTı, London

Next Page