According to Plato, Eikasia is trained vision.
“Our world as we experience it, is an illusion, a collection of mere appearances like reflections in a mirror or shadows on a wall.”
Eikasia, as an interaction of being and unbeing, appears between the “visitors” of the exhibition and the art pieces of virtual reality. In this way, the duality of living with the virtual is highlighted through the experiences of the artists, whose work is presented in the exhibition, and of the people who are engaging with it.
Stream of consciousness only becomes focused if it incorporates itself in space, which is why an exhibition in a church creates issues about the reliability of perception and the questioning of reality.
By setting foot in this heterotopic space, which is both in the margin of all the other spaces yet real at the same time (a church, as a place, is neither fully open nor closed, although it was created for public interaction, it has certain rules for coming and leaving, so it is not accessible anytime like other public places) the “visitors” of the exhibition are naturally faced with the interpretation of the concept of being and unbeing and in this way, they are able to “regain their sight” and become a part of the exhibition themselves.
Nidas Kaniušas, Gailė Cijūnaitytė, Agnė Masilionytė, Vytautas Stanevicius, Osvalda Mickutė, Matas Sergijus Šatūnas, Tatsiana Licheuskaya, Gintarė Rapševičiūtė, Simonas Kotovas, Kostis Solanos, Irmantas Kaseta, Dominykas Surgailis, Almantas Klibavičius, Pavel Purpurovich, Tomas Sheludyakovas
Arturas Bukauskas, Nidas Kaniušas, Gintare Valeviciute Brazauskienė