Laura Pellizzari a “Artisti a Venezia”

La AccorsiArte è lieta di inaugurare la terza edizione di “Artisti a Venezia” in concomitanza ad uno dei periodi più importanti dela città, la Biennale di Architettura, attraverso un percorso artistico che vede a confronto stili e epoche differenti di di straordinari talenti. L’artista Laura Pellizzari sarà presente con la sua opera in bronzo “legami”.
AccorsiArte
16 – 25 giugno 2018
Castello – Calle dei Forni 2265 – Venezia
Fermata vaporetto Arsenale

Vernissage Inaugurale Sabato 16 giugno h 17.30
Ingresso Gratuito

Vi aspettiamo numerosi
Per informazioni
Daniela Accorsi
mail: accorsiarte@gmail.com
cell. 3420929640
www.accorsiarte.com

Orari di apertura al pubblico:
dal martedì al lunedì ore 11.00 – 18.00
domenica 11.00 – 14.00

Meet the Artists | EMOTIVA

In occasione della chiusura della mostra EMOTIVA, dedicata a Brigita Huemer e Angelica Romeo la galleria Mucciaccia Contemporary è lieta di annunciare che il giorno mercoledì 13 giugno dalle 17.00 alle 20.00 si terrà un evento di chiusura che vedrà la partecipazione delle due artiste. In questa occasione saranno presenti entrambe le artiste per illustrare la mostra a chi non l’ha ancora vista o desidera rivederla.

La mostra, a cura di Cesare Biasini Selvaggi, ha visto il dialogo tra le due ricerche artistiche indipendenti, all’insegna della vitalità del segno per la prima e del gesto per la seconda. Eppure, nello stesso tempo, due ricerche coincidenti nel ricorso al medium pittorico, scandito da Brigita Huemer in una fitta trama di segni che scappano da una superficie di plexiglass all’altra come in una danza caotica, impastato invece sulla tela da Angelica Romeo in campiture madide di colore, trasbordanti quanto contaminate da strati di lacerti di stoffa, per disvelarne le insondate qualità estetiche, espressive che essi posseggono.

Brigita Huemer (Linz, 1972) ha la sua cifra stilistica riconoscibile nella ripetizione di forme modulari geometrizzanti, stabilite programmaticamente, mediante il ritmico passaggio dalla monocromia, alla scelta dei colori fondamentali, fino a quelli complementari, sempre nella compenetrazione delle campiture cromatiche e, quindi, nel loro reciproco influsso, esprimendo la sensazione ottica del dinamismo. È la conciliazione di essere e divenire, di materia fissa e fluida, di solidità e metamorfosi. È la dicotomia tra maschile e femminile, tra artificio e natura, tra Eros e Thanatos. Non è, dunque, mai una ripetizione monotona e meccanica di se stessa perché ognuna di queste variazioni, in un rapporto causa-effetto, genera un totale spostamento di tutti gli equilibri interni alla composizione pittorica. Alla ricerca di un coinvolgimento sensorio diffuso e “totale” amplificato dalle cangianti superfici in plexiglass scelte come supporto.

Se tra materia e segno esiste, comunque, ancora una distinzione precisa, diventa tuttavia assai più labile tra segno e gesto, il cui confine va identificato concettualmente più nelle motivazioni operative che nel risultato. Angelica Romeo (Roma, 1970), per esempio, può apparire fortemente gestuale, ma il suo intento è comunque quello di raggiungere con il segno un risultato alla fine formale, per quanto nuovo. L’artista romana presenta uno stile in cui l’apparente casualità del gesto e la sua presenza fisica che agisce nel tempo sulla tela hanno una funzione creatrice e caratterizzante. L’esito formale è un rabdomantico polimaterico (acrilici, inserti di stoffe, tecniche miste) che riesce a esprimere le emozioni o le sensazioni più intime attraverso quella cicatriziale scabrosità con cui la pittrice solca l’epidermide sulla tela. Come a imitare quella di una zolla di terra franta e irregolare, che conserva la memoria del proprio passato tra le screpolature di una superficie arsa dal sole.

INFO

Finissage mercoledì  13 giugno dalle ore 17.00 alle 20.00

Brigita Huemer, Angelica Romeo. EMOTIVA, a cura di Cesare Biasini Selvaggi
Mucciaccia Contemporary, piazza Borghese 1/A, 00186 Roma | T. +39 06 68309404
info@mucciacciacontemporary.com | mucciacciacontemporary.com
dal martedì al sabato, 10.30 – 19.00; lunedì  e domenica
ingresso libero

EMOTIVA – Brigita Huemer and Angelica Romeo double solo show

Mucciaccia Contemporary is pleased to present EMOTIVA, the double solo show by Brigita Huemer and Angelica Romeo. 20 selected works, recently produced, created especially for this occasion. Two independent artistic research, marked by the vitality of the sign for the first, of the gesture for the second. Yet, at the same time, two coincidental researches in the use of the pictorial medium, marked by Brigita Huemer in a dense network of signs that escape from one surface of Plexiglas to another like a chaotic dance. Instead, kneaded on the canvas by Angelica Romeo into backgrounds color moist, changing as contaminated by layers of cloth fragments, for the unfathomed to identify its aesthetic, expressive qualities which they possess.

The exhibition, curated by Cesare Biasini Selvaggi, has been inaugurated on Tuesday 8 May 2018 and accompanied by a catalogue published by Carlo Cambi Editore, with a text by the curator himself.

The birth of psychoanalysis, thanks to Sigmund Freud, revolutionized the concept of human interiority in the Twentieth Century: first, the articulation of the psyche was based on reason-feeling dualism, it was then moved to the consciousness-unconscious duality. The unconscious is that part of our psyche in which hidden thoughts and emotions are placed, which, without the individual being aware of it, interact with his consciousness, orient or influence his preferences, motivations and existential choices. Having identified this new territory of the human soul has opened up remarkable possibilities for contemporary art. Both artists in this exhibition draw from it.

Brigita Huemer (Linz, 1972) has a signature style that is recognizable in the repetition of modular geometrical shapes, that have been programmatically established, through the rhythmic passage from monochromy, to the choice of fundamental colors, up to the complementary ones, always in the interpenetration of the chromatic backgrounds and, therefore, in their reciprocal influence, expressing the optical sensation of dynamism. It is the reconciliation of being and becoming, of fixed and fluid matter, of solidity and metamorphosis. It is the dichotomy between masculine and feminine, between artifice and nature, between Eros and Thanatos. It is therefore never a monotonous and mechanical repetition of itself because each of these variations, in a cause effect relationship, generates a total displacement of all the internal equilibriums of the pictorial composition. In the quest for a widespread and “total” sensory involvement amplified by the changing plexiglass surfaces chosen as support.

If a precise distinction between matter and sign still exists, that between sign and gesture, however, becomes far more labile, the boundary of which must be conceptually identified more in the operative motivations than in the result. Having always prone to an impetuous dynamism that makes matter and color the functional elements to the unconditional yielding to a personal expressiveness, Angelica Romeo (Rome, 1970), for example, can appear strongly gestural. Yet her intention is still to achieve with the sign a result which is in the end, formal, however new it may be. The Roman artist presents a style in which the apparent randomness of the gesture and its physical presence that acts over time on the canvas have a creative and characterizing function. The formal outcome is a polymateric rhabdomantic (acrylics, fabric inserts, mixed techniques) of a fundamentally abstract nature, albeit with the echo of a naturalistic inspiration through the scarring roughness with which the painter furrows the epidermis on the canvas. Like imitating that of a clod of irregular and friable earth, which preserves the memory of its past among the cracks of a surface burnt by the sun.

 

INFO

Opening 8th May h. 6.30 pm
Brigita Huemer, Angelica Romeo. EMOTIVA
Curated by Cesare Biasini Selvaggi
Mucciaccia Contemporary, piazza Borghese 1/A, 00186 Roma | T. +39 06 68309404

info@mucciacciacontemporary.com | mucciacciacontemporary.com

open to public 8th May – 15th June 2018
hours Tuesday – Saturday, 10.30 am – 7 pm; Sunday and Monday closed
free entry

Click here for the italian version on Mucciaccia Contemporary website

Art Prize CBM presenta una mostra di Ilaria Bochicchio e Břetislav Malý a Milano

Nello spazio di Centro Ceco di Milano, via G. B. Morgagni 20, dal 10 al 31 maggio si terrà la mostra dell’artista ceco Bretislav Maly e l’italiana Ilaria Bochicchio, i finalisti di Art Prize CBM, il premio biennale promosso da Areacreativa42. Sono stati selezionati fra i 46 finalisti da Radka Neumannova, Direttrice del Centro Ceco e Karin Reisovà Presidente del Premio CBM. L’inaugurazione si svolgerà giovedì 10 maggio al 18.30 ore al Centro Ceco, alla presenza degli artisti. La mostra è curata dal Karin Reisova.

L’intenzione principale di Břetislav Malý è quella di esaminare il mezzo della pittura tradizionale, in particolare la sua dis-integrazione nei colori; allo stesso tempo, il suo modo di dipingere complica la superficie bidimensionale, e lo porta senza esitare ad invadere anche lo spazio oltre al supporto pittorico. In mostra sarà esposta l’installazione “Giardino Galleggiante”. Ilaria Bochicchio si concentra invece sui corpi dando vita a quadri materici che sono quello che resta di corpi interiori.

Ilaria Bochicchio ha conseguito i suoi studi presso l’Istituto Europeo di Design, è un artista, illustratrice e scrittrice. Vive e lavora a Milano. Ha lavorato per la rivista d’arte Hestetika ed è responsabile della sezione arte per il magazine Aware. Quest’anno è stata selezionata per la Biennale Giovani Artisti, Mediterranea 17 alla Fabbrica del Vapore di Milano. La sua ricerca si focalizza sul corpo, la materia che usa per dipingere distrugge le forme descrittive. Il corpo è il pretesto per narrare uno stato interiore. Lavora anche con la performance che proviene direttamente dalla sua ricerca pittorica. La performance #chambre è stata presentata a Milano, New York e in Sicilia.

Bretislav Maly, nato nel 1985 a Hradec Králové, attualmente vive e lavora a Brno, Repubblica Ceca.Nel 2011 ha laureato all’Accademia di Belle Arti a Bratislava. Durante il suo studio ha fatto il tirocinio al Accademia a Poznan nell ateleir di prof. Z W. Wlodzimierz Dudkowiaka. Nell ani 2006 – 2012 ha frequentato i corsi di Facoltà di Belle Arti a Brno, nell atelier dal doc. Vesely e doc. Lahoda.

For more information click here

Tania Nasir at World Art Dubai

Tania Nasir, one of Artrooms Fair Roma’s selected artists, will be exhibiting her latest art collection at World Art Dubai, at stand G15.

World Art Dubai is one of the Dubai Art Season‘s key events and the first curated affordable art fair in the region. Now in its forth season, World Art Dubai brings an expansive collection of works from more than 300 local, regional and international artists and galleries to Dubai, all priced $100 to $20,000.

Engaging features and activities at the fair include creative workshops for adults and kids, live art demonstrations, art talks, open discussions, art for Every Wall below AED 3,000, Contemporary Design & Craft Market, competitions and much more.

World Art Dubai will run from the 18th to the 21st April, 2pm to 9pm at the Dubai World Trade Centre, Za’abeel Hall 3.

 

Partecipazione di Camilla Ancilotto con l’opera Ab Ovo: 2018 Palermo BIAS

(ANSA) – PALERMO, 10 APR – Alla sua seconda edizione, Bias (Biennale Internazionale di Arte Contemporanea Sacra delle religioni e credenze dell’Umanità) propone, da sabato 14 aprile – con vernissage a palazzo Belmonte Riso alle 18 e Concerto inaugurale in Cattedrale alle 20 – i lavori di 115 artisti visivi distinti per aree tematiche in vari luoghi di Palermo e della Sicilia con un’estensione in Egitto e in Israele.

I partecipanti sono stati scelti su 480 proposte da una commissione di cui fanno parte, fra gli altri, la critica d’arte Angela Vettese, il filosofo Guido Brivio, Rolando Bellini dell’Accademia di Brera, Valeria Li Vigni, direttrice del palermitano Polo museale di palazzo Riso ed Enzo Fiammetta della Fondazione Orestiadi di Gibellina. Ideata da Chiara Donà dalle Rose, la rassegna è un progetto imponente per numeri e impegno, un’iniziativa nata per gettare un ponte di arte e cultura fra il capoluogo siciliano e il resto del mondo. Protagonisti del Concerto di inaugurazione in Cattedrale saranno l’Orchestra filarmonica, diretta da Francesco Di Peri, il Coro Polifonico del maestro Salvatore Scinaldi e il Corpo di ballo del Liceo musicale e coreutico Regina Margherita di Palermo. Saranno eseguite anche due opere inedite: “Il confine” di Mario Bajardi e Alberto Maniaci e “Officium” sempre di Mario Bajardi.

Dopo il Concerto, i 220 studenti coinvolti, guidati dall’arcivescovo Corrado Lorefice e dal sindaco Orlando andranno in processione fino all’Oratorio di Ludovico Quaroni in via Maqueda, sede di una delle sezioni della Biennale. Bias, infatti, è un’iniziativa supportata con molto interesse dal Comune di Palermo in questo anno in cui è capitale della cultura, come ha ricordato il Sindaco Leoluca Orlando durante la conferenza di presentazione.

Titolo di questa edizione, “La porta – Porta itineris dicitur longissima esse”. La porta è la parte più lunga di (questo) viaggio nello “spirituale nell’arte” che, con oltre 40 eventi (mostre, spettacoli, concerti) fino al 14 settembre, interesserà 22 luoghi in Sicilia, 3 in Egitto e 2 in Israele. In particolare, in Egitto, gli eventi si svolgeranno a Nuweiba e a Dahab sul Sinai, a Ras Saitan e, in Israele, a Tel Aviv. Saranno realizzate mostre e iniziative di pace che, anche grazie all’opera delle artiste Rosa Mundi, Anna Peira, Daniela Papadia, vedranno donne ebree, palestinesi e cristiane tessere insieme un filo dell’alleanza, coinvolgeranno donne e bambini delle comunità beduine. In Sicilia, le sezioni di Bias 2018 sono articolate secondo temi legati alla ricerca del senso ultimo del percorso dell’uomo.

I padiglioni sono 8: Filosofico, Scientifico, delle Religioni Perdute, Abramitico (ebraico, cristiano e islamico), Induista, Taoista, Buddista, Africano ed Esoterico, escludendo ogni forma di riferimento nazionalistico e geografico all’origine o alla residenza dell’artista.

A Palermo Bias troverà le sue sedi in 9 suggestivi spazi del centro storico, fra l’altro sarà possibile vedere l’Ipogeo di San Giuseppe dei Teatini. Gli altri luoghi sono la Cappella dell’Incoronazione, le chiese della Concezione al Capo e della Pinta, gli oratori dell’Angelo, di San Mercurio, di S. Stefano Protomartire e il palazzo Gaetani della Bastiglia. Ancora sono coinvolti Terrasini, Salemi, il parco archeologico di Selinunte, Messina e Taormina.(ANSA).

Exhibit A: Kristina Chan & Juree Kim at Anise Gallery

Anise Gallery presents Florence Trust Resident Artist Kristina Chan, selected artist for Artrooms Fair London and Artrooms Fair Roma 2018, and V&A Ceramics Resident Juree Kim together in ‘Exhibit A’. Kristina and Juree’s research and work meet in their respective investigations of architectural development, decay and destruction, with a focal critique on man-made effects.

Kristina’s use of lithograph print, bronze and copper has been developed by recent residencies around the world, including Vancouver, Edinburgh and London. The research element to her work is fundamental to the end product, encompassing geographies, histories and political manifestation. In keeping with her printmaking practice, Kristina explores how mankind marks the world and how it marks us in response. Her work featured in ‘Exhibit A’ is a visual investigation into the way architectural structures and everyday objects are left to decay by human action, or inaction, therefore changing the landscape. Kristina is the recipient of multiple accolades including the Anthony Dawson Young Printmaker Award, the RSA Guthrie Award, Edinburgh Printmakers Award, the Elizabeth Greenshields Foundation Grant Award and was shortlisted for the Jerwood Artist Bursary and the Aesthetica Art Prize (all 2017).

As the V&A Korean Ceramics Resident, Juree Kim’s clay scale models are both activated and eroded by the artist’s intervention of pouring water, which descends the pieces slowly and gradually into realistic depictions of delapidated buildings, reflecting Juree’s experiences of Seoul’s regeneration. The artist intricately replicates these vernacular Korean buildings before they are demolished in favour of alternative housing solutions, and while they have a highly personal nature it is one that viewers around the world will be able to relate to. Juree’s work has been exhibited internationally including the British Ceramics Biennial, Seoul National Museum of Art, the V&A, The Second Chongging Asia Young Artist Biennal and Sungkok Art Museum, Seoul. She is the recipient of the ARCO Museum Career Development Program Award, the Song Eun Art Award and the ARTE New Artist Development Program.

‘Exhibit A’ will present a dialogue between the two artists’ critical engagement with architecture, and the opening night will include a performative element whereby Juree will activate her sculpture. To accompany the exhibition, Anise Gallery will host a panel discussion on Thursday 5 April on the subject of artist residencies for practitioners after graduating, which will include representatives from the Florence Trust and East London Printmakers.

Anise Gallery, 13a Shad Thames, SE1 2PU, London, United Kingdom

Opening Hours from Tuesday to Saturday 11am-5pm apart from Easter Weekend.

(Source: https://www.anisegallery.co.uk/)

Dalla fenice ai cani eroi del terremoto la street art per la rinascita di Amatrice

Una fenice a ricordare la rinascita dalle ceneri, opera di Mauro Sgarbi. Camilla, cagnolina morta dopo aver aiutato a rintracciare molti dispersi, illustrata da moby Dick. Una donna tra palazzi distrutti, per Giusy. Un piatto di amatriciana, ricetta e simbolo riconosciuti nel mondo, celebrato da Maupal. Infine, le operazioni di salvataggio con i cani che Beetroot mostra tra le macerie, ponendo in primo piano il muso dell’animale che scava.

VIA DEL CASTAGNETO
E’ un messaggio di rinascita declinato attraverso più soggetti legati a storia e cronaca della zona, quello che gli artisti Mauro Sgarbi, Beetroot, Giusy, Maupal e Moby Dick, romani per nascita o adozione, hanno affidato all’intervento pittorico eseguito su un muro lungo via del Castagneto nell’ambito dell’iniziativa “Street art per Amatrice”, ideata dallo stesso Sgarbi, a cura di Simona Capodimonti e creata dall’associazione Up2Artists. “Sentendo i problemi della ricostruzione – spiega Sgarbi – ho iniziato a chiedermi che tipo di contributo avrei potuto dare come artista. Ho pensato che l’arte avrebbe portato sollievo alle ferite dell’animo degli abitanti. Ho parlato col Sindaco. Mi ha assegnato un muro molto grande, ho coinvolto altri artisti”. Il tema è stato deciso insieme: la speranza.

Artrooms Roma 2018 Selected Artist Ian Wolter will exhibit at FLUX London

Ian Wolter‘s new film, the Knowledge, has been selected to be shown at FLUX 2018

FLUX Exhibition is a ground breaking art event – a collection of the most dynamic painters, sculptors and performance artists which represents an alternative way to encounter today’s best new art.

FLUX has established itself as the platform for contemporary artists to be discovered and to be part of an exceptional, unconventional art event. Hosted by Chelsea College of Arts in London and curated by Lisa Gray, the founder of FLUX, this fifth, much anticipated edition of FLUX brings 90 artists to the fore. Gray has hand selected the very best emerging and established artists for a five-day interactive event.

In the game-show setting of The Knowledge Ian Wolter emphasises the seemingly unconcerning, popular belief that rapidly advancing technologies will sweep aside the Knowledge and both cab and uber drivers as well as any number of other jobs. This work also probes our sentimental desire to preserve traditions like the Knowledge.

FLUX Exhibition will run from the 11th to the 15th of April 2018 at the Chelsea College of Arts, London.

For more information, visit http://www.fluxexhibition.com/

Viktorija Damerell shortlisted for the JCDecaux Award

Viktorija Damerell, Artrooms Fair Roma 2018’s applicant, has been shortlisted for the JCDecaux Award.

” ‘Slow Schools’ is already the second exhibition from the cycle of yearly exhibitions entitled ‘JCDecaux Award’, initiated by the Contemporary Art Centre together with ‘JCDecaux’ in 2016. The cycle aims to present Lithuanian young artists and encourage production of new artworks, produced by the Contemporary Art Centre. On the 14th of December the international board will announce one artist from this exhibition, who will receive an award of 3000 euros.

Between the 19th of June and the 7th of August young artists were invited to send their proposals for new artworks answering to the guidelines prepared by exhibition curators. More than 40 applications were presented for the open call. On the 3rd of September five artists or artists’ collectives were selected to participate in this exhibition.

The artists were invited to create new pieces reflecting social phenomena, researching, how artworks can comment about old structures of society or become new ones themselves, tell stories about identity, the everyday, the body or become a pretext for creating new stories of the kind.

‘Slow Schools’ is the exhibition of five artworks about a time, when originality is a resource of a constant remaking and a value is determined by the amount of copies and remakes as well as the speed of their dissemination. These artworks comment recent popular culture and art history, actualise problems identity of an author and individual artwork, but also invite the return of the intimacy of a gaze, where conclusions, manifests and statements lose their importance, giving space to dialogue and hesitations, details and gestures that are not noticed at once, as well as accidentally recorded eventualities. ‘Slow Schools’ present continuous individual learning processes, techniques and habits, that cannot be summarised into one topic or field, but raise the question: what was the old school like and what will become of the new one?

The result is a fluid exhibition in which artworks do not always have a fixed position, constantly changing their place and changing themselves. This way it reveals tensions between different artistic means of expression of the participants, their experiences and attitudes to problems, which may look similar only at the first glance.

‘Armen’ by Andrius Arutiunian is based on music, created by popular music producers of the Armenian diaspora. Because of the Armenian Genocide and the emigration waves that followed it, nowadays Armenia has one of the biggest diasporas in the world. Audio and video pieces created outside of Armenia are recomposed, the fragments of pop and disco music from the vinyls of 1970s–1990s are juxtaposed with textures, consisting of noise and glitches. The audio part of the piece is presented as a vinyl, thus returning the musical material to its original analogue format.

The continuous painting series ‘Heart Matters’ by Rūtenė Merkliopaitė consists of four pictures from the cycle ‘Christina’ and three figurative pieces from the cycle ‘McQueen’. Paintings ‘Christina’ reflect the author’s creative method, when an artwork begins as an abstraction, but in the process of painting gains motives of some objects. ‘Christina’ may be a coat of arms, an arch, an outline of a portrait – the artwork has a potential of an emerging figurative image, which the author tries to grasp without making the image concrete. The pieces from the cycle ‘McQueen’ are repainted photographs from different collections of the British fashion designer Alexander McQueen. In these works, one can see motives from traditional painting genres – portrait, interior, equestrian. The painter appropriates certain images and moves them to the field of painting technique – costumes, interiors and objects turn into gestures, colours and touches.

The installation ‘Session’ by Viktorija Damerell presents an antagonistic attitude towards classical representation of a human body. Classical standard of body image is a physically trained, resting body, the vitality of which is represented in the hard material like stone or metal. “Session” lacks this kind of body; instead it presents the cycling-simulator and a never appearing body image in a dark, empty space of a TV screen. The piece comments on the contemporary cult of body perfection and its influence on how humans perceive themselves, when a body does not present individual deeds any more, all bodies are made similar through a neurotic training in artificial conditions while aiming at a temporary ideal.

In the piece ‘Emotional Trilogy’ Austėja Vilkaitytė combines the genres of dance, performance and installation. In the performance cycle, the structure of which is loosely based on the antique drama theatre, the artist uses images and motives from Lithuanian ethnography and contemporary popular culture. Personages from different time-spaces meet in the piece: Eglė the Queen of Serpents, Antigone, the warrior princess Xena, „Ruki Vverh” and others. The performance cycle ‘Emotional Trilogy’ is extended into the continuously changing installation, which gains new features and functions in time. The artist comments about the static conception of time in the epic genre and the dominance of male personages in it – by using emotional and erotic “logics” she turns the usual power relationships upside-down.

Young performance artist Antanas Lučiūnas and graphic designer and publisher Monika Janulevičiūtė work as an artists’ duet. Their piece ‘Girl on Fire’, performed by five personages, takes place in the world of a recently published graphic novel ‘The Great Outdoors’ – in the green isle between two traffic lanes, where personages face the lancinating collective reality. In the exhibition the performance is perceived not as a stable, integral installation, but is experienced through many objects, located in the North Hall and other spaces of the Contemporary Art Centre – fire hoses, smoky lamps and the smell of fluttering wires in the air.

Artists: Andrius Arutiunian, Viktorija Damerell, Antanas Lučiūnas and Monika Janulevičiūtė, Rūtenė Merkliopaitė, Austėja Vilkaitytė

Source: http://www.cac.lt/en/exhibitions/current/8607