Photo reportage from the exhibition ‘Entangled Tales’ at Rupert

Daria Melnikova, Date Night, 2018. Metal, wood, polyurethane, paint. Variable dimensions. Entangled Tales, exhibition view, Rupert, 2018

Daria Melnikova, Date Night, 2018. Metal, wood, polyurethane, paint. Variable dimensions. Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales brings together local and international artists to look at the ways in which we think, communicate and live with matter.  The exhibition’s theme takes the lead from the artists’ practices and recent feminist approaches to materiality and ‘new materialism’. It considers how our correspondences with the matter with which we are entangled offer ways to explore memory, the body, forms of participation and modes of knowing. Looking at how artists work and think with their materials, Entangled Tales considers how matter is not inert, passively awaiting our formation and control. Rather, matter responds to touch and we in turn respond to and are touched by it.

Life emerges in such co-responses with a world of matter, beings, processes. How this world is configured through practices and responses enables (and can prevent) other responses to emerge in turn.  As such, there is an ethics of care and responsibility in this acknowledgement of matter as something with and through which we think and act, as many feminist scholars and practitioners in various fields have observed.  Karen Barad, from whose writings the exhibition takes its title, argues that responsibility to other lives and the world with which we are entangled involves being able to respond to such lives, to be ‘response-able’ to them. And to be able to respond itself requires an attentiveness to the lifeworlds with which we live.

In this way, Entangled Tales asks with the artists how we learn and communicate through practices of re-configuring matter, while considering what forms of response-abilities and forms of knowledge such practices and configurations enable.  These correspondences with matter do not, after all, stop when the work is done, since the work is not merely a secure archive of marks and forms from which we can trace a now distant gesture. Instead, the work is something that we continue to think with and exist alongside – that is, respond to. It is an obvious fact, but perhaps one worth stating: without materials to think with, we’d have nothing to think about.  The exhibition, then, is an invocation to keep thinking and to consider thinking as an embodied practice affected by the matter we think with. And as the exhibition’s architecture emphasises, both art works and the responses to them are situated in interrelated webs of correspondences and matter. It is in this entangled web that we can follow threads of matter, asking with the works, what are the entangled tales they seek to tell.

There will be an accompanying programme of tours, talks, events and workshops, including a lecture by Dr Rick Dolphijn and workshops by exhibition artists Anastasija Sosnunova and Daniel Rossi with Rupert’s July artist-in-residence, Sarah Chow. Palanga Street Radio will be DJing on the opening night.  Please visit our website for further information.

Curators: Justė Jonutytė and Yates Norton

Artists: Rebecca Ackroyd, Stefania Batoeva, Julie Béna, Ragna Bley, Than Hussein Clark, Olivia Erlanger, Merike Estna, Daiga Grantina, Celia Hempton, Tamara Henderson, Ieva Kraule, Jenine Marsh, Daria Melnikova, Rūtenė Merkliopaitė, Mikołaj Moskal, Rosalind Nashashibi, Athena Papadopoulos, Zoë Paul, Daniel Rossi, Viktorija Rybakova, Anastasija Sosunova, Indrė Šerpytytė, Jala Wahid

Exhibition Architects:  Ona Lozuraitytė and Petras Išora

Co-ordinators: Vitalija Jasaitė and Kotryna Markevičiūtė

Supporters:  Lithuanian Council for Culture, Vilnius City Municipality, Office of the Embassy of Canada to Lithuania, Pakrantė

Special thanks: Emalin (London); Cooper Cole (Toronto); Galeria Wschód (Warsaw); Galerie Joseph Tang (Paris); OSL Contemporary (Oslo); Parafin (London); Rodeo (London); Southard Reid (London); Temnikova & Kasela (Tallinn); vi, vii, (Oslo), and Vilnius In Your Pocket City Guide

Photography: Andrej Vasilenko

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases.

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases.

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Anastasija Sosunova, Private States, 2018. Steel, polyester resin, chewing gum, silicone. Steel construction 140 x 39 x 1 cm. Resin object 48 x 39 cm

Anastasija Sosunova, Private States, 2018. Steel, polyester resin, chewing gum, silicone. Steel construction 140 x 39 x 1 cm. Resin object 48 x 39 cm

Ieva Kraule, Clean Thoughts, 2018. Clay, acrylic, varnish, steel, wood, linen rope, linen, cotton threads, soap, wood shavings. Variable dimensions. It Imitates a Wet Pessimism, 2018. Clay, acrylic, variable dimensions. Conflicting Memories, 2018. Soap, linen rope, bee wax, wood shavings, coral, tiger's eye, desert rose, carnelian, green calcite. Variable dimensions. Endless Rope, 2018. Soap, linen rope, bee wax, clay, acrylic. Variable dimensions.

Ieva Kraule, Clean Thoughts, 2018. Clay, acrylic, varnish, steel, wood, linen rope, linen, cotton threads, soap, wood shavings. Variable dimensions. It Imitates a Wet Pessimism, 2018. Clay, acrylic, variable dimensions. Conflicting Memories, 2018. Soap, linen rope, bee wax, wood shavings, coral, tiger’s eye, desert rose, carnelian, green calcite. Variable dimensions. Endless Rope, 2018. Soap, linen rope, bee wax, clay, acrylic. Variable dimensions.

Tamara Henderson, Treaty of Slippage, Wake of Limbs, 2014. Copper, paint, sand, glue, wood, 90 x 157.5 x 94.5 cm

Tamara Henderson, Treaty of Slippage, Wake of Limbs, 2014. Copper, paint, sand, glue, wood, 90 x 157.5 x 94.5 cm

 Entangled Tales, exhibition view, Rupert, 2018


Entangled Tales, exhibition view, Rupert, 2018

Viktorija Rybakova, Tentacular Series, 2017. Glazed ceramic, variable dimensions.

Viktorija Rybakova, Tentacular Series, 2017. Glazed ceramic, variable dimensions.

 Entangled Tales, exhibition view, Rupert, 2018


Entangled Tales, exhibition view, Rupert, 2018

Merike Estna, From liquid to hard to soft too hard, 2017. Hand painted tufted carpet, 61 x 45 cm

Merike Estna, From liquid to hard to soft too hard, 2017. Hand painted tufted carpet, 61 x 45 cm

Ragna Bley, Receive in Past Tense, 2017. Acrylic on Dacron, 330 x 170 cm

Ragna Bley, Receive in Past Tense, 2017. Acrylic on Dacron, 330 x 170 cm

Rūtenė Merkliopaitė, Montevideo, 2016. Oil on canvas, 31 x 27 cm

Rūtenė Merkliopaitė, Montevideo, 2016. Oil on canvas, 31 x 27 cm

Stefania Batoeva, Never Sleep Never Die, 2017. Acrylic and oil on canvas, 170 x 200 cm. Entangled Tales, exhibition view, Rupert, 2018

Celia Hempton. Matthew, 2017. Oil on linen 30 x 35 cm.  Stefania Batoeva, Never Sleep Never Die, 2017. Acrylic and oil on canvas, 170 x 200 cm. Entangled Tales, exhibition view, Rupert, 2018

 Entangled Tales, exhibition view, Rupert, 2018


Entangled Tales, exhibition view, Rupert, 2018

Rebecca Ackroyd, tender place, 2018. Paper, gouache, soft pastel, 150 x 100 cm.

Rebecca Ackroyd, tender place, 2018. Paper, gouache, soft pastel, 150 x 100 cm.

Rebecca Ackroyd, Hunter/ Gatherer ix, 2018. Steel, plaster bandage, photocopies, bag straps, wax, 90 x 70 x 50 cm.

Rebecca Ackroyd, Hunter/ Gatherer ix, 2018. Steel, plaster bandage, photocopies, bag straps, wax, 90 x 70 x 50 cm.

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases.

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases.

Daiga Grantina, Coat-ee off Cat Curl, 2018. Fabric, plastic, wood, foam, cardboard, paint, 250 x 150 x 50 cm

Daiga Grantina, Coat-ee off Cat Curl, 2018. Fabric, plastic, wood, foam, cardboard, paint, 250 x 150 x 50 cm

Athena Papadopoulos, The Grapevine (Dear Stalker) II, 2017. Hair dye on image transfers, fabric, thread, nail polish on alligator claw, suede, jewelry chain and eyelets, wood and deer antlers covered in resin-based glue mixed with self-tanner and synthetic hair clippings, clear enamel and screws, 268 x 295 cm

Athena Papadopoulos, The Grapevine (Dear Stalker) II, 2017. Hair dye on image transfers, fabric, thread, nail polish on alligator claw, suede, jewelry chain and eyelets, wood and deer antlers covered in resin-based glue mixed with self-tanner and synthetic hair clippings, clear enamel and screws, 268 x 295 cm

Viktorija Rybakova, Curious Skin. Paper, 70 x 35 x 35 cm

Viktorija Rybakova, Curious Skin. Paper, 70 x 35 x 35 cm

Jala Wahid, Sheikhalla Bazaar ( بازاری شێخه‌ڵلا‬ ), 2018. Jesmonite, feathers, bronze powder, epoxy resin, mild steel, 250 x 154 x 2.5cm

Jala Wahid, Sheikhalla Bazaar ( بازاری شێخه‌ڵلا‬ ), 2018. Jesmonite, feathers, bronze powder, epoxy resin, mild steel, 250 x 154 x 2.5cm

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases. Detail.

Zoë Paul, Black lungs, 2018. Mixed media, site specific wall painting and two black ceramic vases. Detail.

Julie Béna, Mandrake, 2016. Silk cape, fabric and plastic, 150 x 30 cm

Julie Béna, Mandrake, 2016. Silk cape, fabric and plastic, 150 x 30 cm

Than Hussein Clark, Cancellation Elevator, 2018. Epoxy resin, steel, steel wire, copper, candelabra, candles. Two hanging sculptures, each 24 x 24 x 60 cm

Than Hussein Clark, Cancellation Elevator, 2018. Epoxy resin, steel, steel wire, copper, candelabra, candles. Two hanging sculptures, each 24 x 24 x 60 cm

Jenine Marsh, the overgrowth, 2018. Flowers, synthetic rubber, variable dimensions.

Jenine Marsh, the overgrowth, 2018. Flowers, synthetic rubber, variable dimensions.

Athena Papadopolous, BCP VI, (BurnBBBurn), 2018. Hair dye, mascara, fake eyelashes, nail polish, image transfers, polyester resin, taxidermy/dress pins, medical gauze on mesh, bridal veil, garter belts, various glues, clear lacquer foam, wood, enamel paint, acrylic pen, hooks, steel wire, 60 x 80 cm

Athena Papadopolous, BCP VI, (BurnBBBurn), 2018. Hair dye, mascara, fake eyelashes, nail polish, image transfers, polyester resin, taxidermy/dress pins, medical gauze on mesh, bridal veil, garter belts, various glues, clear lacquer foam, wood, enamel paint, acrylic pen, hooks, steel wire, 60 x 80 cm

 Olivia Erlanger, Open Box House Slipper, 2018. Porcelain, glaze, resin, 15 x 10 x 10 cm. For Jenny and Esther Swiss Cheese, 2018. Porcelain, glaze, resin, 15 x 10 x 10 cm


Olivia Erlanger, Open Box House Slipper, 2018. Porcelain, glaze, resin, 15 x 10 x 10 cm. For Jenny and Esther Swiss Cheese, 2018. Porcelain, glaze, resin, 15 x 10 x 10 cm

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Than Hussein Clark, Cancellation Elevator, 2018. Epoxy resin, steel, steel wire, copper, candelabra, candles. Two hanging sculptures, each 24 x 24 x 60 cm

Than Hussein Clark, Cancellation Elevator, 2018. Epoxy resin, steel, steel wire, copper, candelabra, candles. Two hanging sculptures, each 24 x 24 x 60 cm

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Entangled Tales, exhibition view, Rupert, 2018

Tamara Henderson, Treaty of Slippage, Wake of Limbs, 2014. Copper, paint, sand, glue, wood, 90 x 157.5 x 94.5 cm

Tamara Henderson, Treaty of Slippage, Wake of Limbs, 2014. Copper, paint, sand, glue, wood, 90 x 157.5 x 94.5 cm

Ragna Bley, Receive in Past Tense, 2017. Acrylic on Dacron, 330 x 170 cm

Ragna Bley, Receive in Past Tense, 2017. Acrylic on Dacron, 330 x 170 cm

Rosalind Nashashibi, The Exiled Prime Minister, 2017. Oil on canvas, 140 x 100 cm

Rosalind Nashashibi, The Exiled Prime Minister, 2017. Oil on canvas, 140 x 100 cm

Indrė Šerpytytė, Infinite, 2018. Cotton linen on canvas, 24 x 24 cm. Rudiment, 2018. Cotton linen on canvas, 22 x 25 cm. Clod, 2018. Cotton linen on canvas, 22 x 22 cm

Indrė Šerpytytė, Infinite, 2018. Cotton linen on canvas, 24 x 24 cm. Rudiment, 2018. Cotton linen on canvas, 22 x 25 cm. Clod, 2018. Cotton linen on canvas, 22 x 22 cm

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Echo Gone Wrong
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July 13, 2018
Published in Photo / Video from Lithuania
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