Afterwork, video projection, HD, sound, 6 min loop.
Laminam board, aluminum, dimension variable, 2016
3D animation: Stanislovas Murmokas
Afterwork follows the blue-collar worker who narrates the video essay. The narrator’s words are composed from Eastern European migrant workers' social media groups posts, poetry, chatbots and songs lyrics. He leads the viewer through a collage of glossy imagery of sleek car parts, nature documentary, with the suggestion of an accelerated present.
During the hours of 17:00-00:00, Viltė Bražiūnaitė and Tomas Sinkevičius are usually found commuting, eating and staring into screens. This is the time of ‘after work’, where lazy minds wander through labyrinths of nature stock images, shiny surfaces, Globish, chatbots, left- and right- wing politics. These are the hours of low vitality in which mind-wandering occurs, and these gentle cognitive strolls unfold through the video timeline like inattentive daydreams.
Nature is commodified here to a such extent that the connection is now a purely technological one - the closest we can get to wildlife is via the nature documentary or stock images. The accelerated presence suggests that all the movements and changes of the subjects (whether nature or a blue collar worker) are both instigated by the rhythm of production and exploitation. Automation renders us unemployed and stagnating wages turn blue collar workers into an endangered species as corporate profits surge to new heights.
In a culture obsessed with efficiency, mind-wandering is often derided as useless—the kind of thinking we rely on when we don’t really want to think. Yet, for all the glossy sheen of our technological era, we remain bound by an old and obsolete set of social relations. We continue to work long hours, commuting further, to perform tasks that feel increasingly meaningless. Our jobs have become more insecure as our debt becomes overwhelming. And each day, we return from work as normal: exhausted and anxious, our gaze drifting away, the lazy mind drifting back to nature.
Born Brilliant, video projection, 3D motion graphics, Caenorhabditis elegans earth worm modified movement, HD, silent, 30 min loop, 2016
Objects: carbon fibre, resin, dimensions variable
Alegra 90 wall to wall carpet, dimensions variable
3D animation: Almantas Vasiliauskas
Born Brilliant can be viewed as a knot, intertwining strands of biology and economy. Here, carbon fibre sheds like tree bark and embodies the earth worm Caenorhabditis elegans. C. elegans is the first multicellular organism that has had its genome sequenced, allowing scientists to study and interact with animal behaviour and its traits. The enlarged, transparent, loose worm- like shape is therefore instructed to repeatedly tie itself into an overhand knot as a gesture of implied human use.
Whoever writes x, can mean simultaneously, 1, 2, 3, the infinite, rational and transcendent; real and complex bodies, even quaternions. One might argue that the world is comprised of knots, interlinking bodies whose functions are rarely, possibly even never, wholly independent. The main premise here, is that nothing is isolated: objects, bodies, entities, all are part of inter-permeable systems.
Axles&Planes is the union of images that were collected on several trips to Hawks Bluff Trail preserve park in Florida, Lithuanian University of Education Sciences greenhouse and stock images. What connect them are performative camera movements such as tilting, panning, zooming , etc. Different times, different places, different authorships on the same timeline. The voice-over translates movements of the camera into spoken text that resembles nature documentary, where film reflects itself, not a subject.
Axles&Planes is an invitation to reevaluate our notion of time and space, since there is no difference between the shape and the perception of the shape but rather a reversible passage, a porosity. Imagine that years before cinema’s birth senses with nature were philosophically engaged, or in other words, they led the way to better understand yourself. Technology made it possible to create new augmentations of human vision, therefore we will further augment reality to uncover new insights. In order to find our place in the landscape we must remain on watch.
Installation A Romance of Many Dimensions focus on highly mediated physical space where objects are only simulations and time is measured by notification messages.
The overflow of information and symbols draw a new dimension of representation that operates on the boundaries between illusion, the mise-en-scène and notions of presence and absence.
The installation consists of three objects: video loop of a spinning gun, a projected ray of light and an anamorphic table. Visitors can transform the table replica into a common table when navigating the exhibition space and linking the objects together from different sides of a room. The 3D gun render carries a mirrored reflection of the gallery space that is visible on the shiny surface of it. The barrel of a gun never sets a target - it points out to the space. The projected light that imitates a possible daylight/moonlight ray merges boundaries between presence and simulated nowness.
Installation “The Romance of Many Dimensions” draws traces from simulacra theory, where simulacras are copies that depict things that either had no reality to begin with, or no longer have an original.
Tomas Sinkevičius (b. 1991, Birštonas, Lithuania)
2014-2016 MFA, Konstfack, Sweden
2010-2014 BA in Photography and Media Art,
Vilnius Academy of Art, Lithuania
Viltė Bražiūnaitė (b. 1991, Vilnius, Lithuania)
2015 Fine Art, Akademie der bildenden Künste Wien, Austria