A gathering crowd outside the window and a growing throng — such was the scene for those who visited Chapon Street in the Marais gallery district of Paris on November 28. Inside the “H Gallery,” Lithuanian performance artist Monika Dirsytė presented her performance Labyrinths of Life: Pan/demos. This performance, which drew significant interest from Parisians, is part of Lithuania’s cultural season in France.
Monika Dirsytė’s four-day-long performance, created in 2020, is being showcased in Paris. During the piece, the artist is enclosed in a glass labyrinth and continuously crawls from one end to the other. The usual duration of the performance is eight hours, but the Paris presentation is limited to six hours each day over four days. According to the artist, the performance reflects current global processes: a glass survival labyrinth where a person struggles for their existence. It mirrors the contemporary world stage, where some people’s efforts to be themselves and independently shape their identities are heavily constrained. Nonetheless, the pursuit of freedom manifests in various ways.
The performance in Paris, curated by art historian Julija Palmeirao, highlights how multi-day performances of this nature are relatively rare in the city. Consequently, crowds of curious onlookers have gathered and continue to gather to observe its progress. A clock mounted on the wall counts the duration of the performance, encouraging some spectators to leave and return later to witness different moments.
One particularly unusual aspect of this performance is that most viewers choose to watch through the gallery’s window rather than entering the gallery itself. Those who do enter maintain a respectful distance, observing in silence and communicating with Monika through gestures.
“Performance art is not just an aesthetic or intellectual experience—it is a living act that demands engagement from both the artist and the audience,” says Julija Palmeirao. “The artist’s persistent effort demonstrates the inexhaustible strength of human physical and psychological resilience. Meanwhile, the unwavering support from viewers shows their ability to grasp the conveyed message—or, if they struggle to understand, their determination to seek answers without giving up.
To me, the space where an artist dares to take risks in order to create meaning, and where the audience takes risks to open themselves to discover that meaning, is akin to a profound act of communion. This mutual commitment and vulnerability make performance art one of the most unique art forms, enabling people to rediscover their place in the world.”
“Before becoming a gallerist, I was and still am first and foremost an art historian. I extensively studied body art and performance art from the 1960s. I have always been fascinated by artists like Marina Abramović, Gina Pane, and Vito Acconci. I admire artists who express their intellectual and political commitment through intense physical tension, sometimes even risking their lives. To me, this is true dedication—pushing boundaries, fully immersing oneself in art. They are no longer just creators of art—they become the art itself.
When I discovered Monika Dirsytė’s work through curator Julija Palmeirao, I immediately decided to present her performance in Paris. Galleries often shy away from organizing such events because financial returns are not always guaranteed, but being a gallerist also means taking on a commitment: showcasing art you believe in and defending artists who, in our view, are the most significant and relevant of our times. This is how art history is written. Everyone must commit to their ideas and beliefs,” says H Gallery gallerist Hélianthe Bourdeaux-Maurin.
Both art historians involved in organizing the performance agree that Monika Dirsytė’s work deserves recognition. This was affirmed on the first day of the performance by visitors such as Laurent Le Bon, President of the Pompidou Art Center; Caroline Cros, heritage specialist, curator, and contemporary art lecturer at École du Louvre; and other members of the Parisian art world, along with curious onlookers from the street.
“If I can contribute to the recognition of the artists I support, I will have fulfilled my vision as a gallerist and talent scout. This is the work I wanted to dedicate my life to,” adds Hélianthe Bourdeaux-Maurin.
The performance runs from November 28 to December 1 at H Gallery, 39 Rue Chapon, 75003 Paris.
The project is part of the “Lithuania’s Season in France 2024”, organized by the Lithuanian Culture Institute and INSTITUT FRANÇAIS.
Project partners: Integrity PR and Cosmica Servisas.
Photography: H Gallery
