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20 September 2007 | re-title.com newsletter - Mixed Media & Group Shows - September 2007 |
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 Monika Sprüth
Philomene Magers Munich UNEASY ANGEL / IMAGINE LOS ANGELES An Exhibition on Intersections Between Reality and Fiction 14 Sept - 3 Nov 2007 The exhibition takes place at both Munich galleries: Monika Sprüth Philomene Magers and Sprüth Magers Projekte Doug Aitken, John Baldessari, Patterson Beckwith, Lecia Dole-Recio, Mario Garcia-Torres, Jack Goldstein, Richard Hawkins, Patrick Hill, Sister Corita Kent, Norman Klein, Barbara Kruger, David Lamelas, Lisa Lapinski, John McCracken, Matthew Monahan, Christine Nguyen, Lari Pittman, Sterling Ruby, Allen Ruppersberg, Ed Ruscha, Lara Schnitger, Kim Schoenstadt, Paul Sietsema, Catherine Sullivan, Robert Therrien, Pae White. Curated by Johannes Fricke-Waldthausen UNEASY ANGEL / IMAGINE LOS ANGELES is a thematic exhibition comprising the creative production of contemporary artists, writers, and filmmakers living and working in Los Angeles. In light of Umberto Eco's and Jean Baudrillard's notion of hyperreality, the exhibition perceives Los Angeles as just such a place - with unclear boundaries separating reality and the imaginary. In today's information society a city cannot be seen and marketed as a static, self-contained or isolated system anymore (Castells, 2004). Yet, a specific characteristic of Los Angeles is that its historical reality is absolutely democratized: Fictional environments seem to be a cultural foundation, where both, originals and copies serve as historical reference points. The logical distinction between real world and possible worlds has been undermined because here everything must be like reality. What then might it mean to address the artistic production of this multi-layered city? The perception of the artist as a travelling passenger in a hyperreal, interconnected space between reality and fiction serves as a starting point for the exhibition. The culture of Los Angeles has expanded to that phenomena so much, that it became an experimental laboratoy for artists in their research and creation of in between spaces. Like the city itself, art created in Los Angeles could be described as post-historical and hyperreal. Anticipating the idea of the city as a fiction, simulation and simulacrum, an important notion about the myth of Los Angeles is based on the concept of fragmented, co-existing realities. Many of them are created by the local entertainment and media industry, constructing their very own dynamic and a concrete actuality. Tracing the history of simulation, Norman Klein's critical essay on L.A. aesthetics ends with a sceptical observation: "Can we see past the smoke?" Pae White's large scale woven photograph "Pae White Smoke" (2007), exploring light, texture, perception and scale, captures the immaterial quality of smoke like an imaginary, translucent sculpture manufactured from toxic air. Patrick Hill's "Soft Passage" (2007) consisting of wood, canvas, glass, mirror, ink, beet and elderberry juice is an hommage to surf culture, finish fetish, the light and space movement, honoring impermanence as a uniting force beyond life and death. Sister Corita Kent's prints from the 1960s merge spirituality, psychadelia, pop culture and the aesthetic of advertising: slogans like "Wonderbread", "Yes People Like Us" or "Let's Talk" defy cynicism and appear like a peaceful cry for a revolution advocating optimism and faith. Confronting the dark side of L.A.'s sunshine more conceptually, the devil works by Robert Therrien, John Baldessari and Barbara Kruger critically address the undisputed truth of advertisement, mega-capitalism, real estate and the biased power of the markets. John McCracken's iconic "Brown Block in Three Parts" (1966) is a genuine totem of something, that could be called transcendental minimalism. Sterling Ruby's "Monument Stalagmite" sculpture series are biomorphic constructions having at the heart of their inception both displacement and dicotonomy, revolving around transient issues of expression and repression. Facing a contemporary lock down of repression via education, historical timelines, market, criminality and social standings, "Still Slouching Towards Bethlehem" (2007) is an acknowledgement of Joan Didion's book with the same title, which predominately revolves around California in the late 60s: the atomisation of American culture, the way in which things have fallen apart and left millions adrift from the cultural and ethical moorings, that their ancestors took for granted. "Moonwalk Lesson Rigo Style" (2006) by Mario Garcia-Torres originates in a set of instructions, attributing to popular Mexican singer Rigo Tovar (1946-2005). Tovar, a long-haired, glittery tailored suit dressed, aviator glasses-on kind of guy incorporated the famous step to his stage dancing in the early 1970s along with his trademark jump. Without being dogmatic about it, the work is a statement related to mainstream popular culture, translating a gesture famous in the realm of pop music into an arts context. Doug Aitken's acid photographs "This Sunn" (2007) and "Sunset Strip" (2007) recall the possible drawback of perfectly designed surfaces. Having been treated with substances like amphetamines, Aspirin and the sleeping drug Ambien, they comment on the transience of property, the synthetic, the artificial and imaginary perfection. Paul Sietsema's current body of work decifers the value and the original meaning of cultural artefacts. His "Gourp Sculptures" (2007) examine the notion of Western colonialisation, as they refer to design, photographs, the collection and appropriation of South Pacific Culture and artefacts in Western civilisation with a colonial attitude. The drawings and photo installations by Christine Nguyen consolidate utopian environments between dream and reality. Considering nature, the human body, biotechnology and energy exchange as source materials for her work, the fragile, large scale drawings resemble spaceships, long forgotten undersea landscapes and imaginary realms, containing green glaciers, foreign animals, spores and cellular structures. Lecia Dole-Recio's subtle, quiet works are experiments on the margins of painting, drawing and collage using microscopical paper cut-outs to explore abstract spaces similar to architectural grids. Patterson Beckwith's psychadelic pop photographs "Untitled" (2007) of soap bubbles, shot during a real time experiment in his studio, appear like an hommage to the blurry and the phenomena of immateriality. The contemporary relevance of Baudrillard's thinking may be to consider which contradictions are created by a highly mediated culture in terms of creating our own identities: if we live in a culture that worships desire, craving, sensation, and simulation, how can we passively observe what is? How can we acquire a consciousness of attention to the internal such as to experience something as real? When the imaginary becomes a genuine experience, the sensation behind it disappears. It is what it is, and from there can proceed without contradiction. In this way, Los Angeles and its art becomes something totally authentic. Image: Courtesy of Monika Sprüth Philomene Magers Munich Monika Sprüth Philomene Magers Munich Sprüth Magers Projekte Read on... Monika Sprüth Philomene Magers Munich |
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 Branch Gallery,
Durham NC Bill Thelen: minor character 13 Sept - 27 Oct 2007 Branch Gallery is pleased to present Bill Thelen: minor character. For some time, Thelen has been fascinated with life on the fringe of things. Through his alter ego Lump Lipshitz, he has routinely praised the character actor over the mega-watt star; seeking out life in the margins and truly appreciating the under-appreciated. In his first solo show at Branch Gallery, Thelen sheds his trademark moniker as he continues to investigate his favorite "minor characters"; setting them center stage in a world of discarded soda cans and suburban decay to humorously engage the dark issues of aging, homosexual marginalization, shame, and death. Real life underdogs such as Warhol actress Andrea Feldman, members of religious cult Heaven's Gate, and the late porn star Roy Garrett are all heroes of Thelen's imagination. Effortlessly moving between media, Thelen's characters manifest themselves however he deems appropriate, whether it be through drawing, painting, sculpture, or video. Thelen's new video work, Nobody's Home, is a deliberately amateurish, hour-long montage of nameless men moving through what could be any suburban neighborhood. A seemingly endless accumulation of strangely unspecific and un-erotic images demonstrates the banality of voyeurism, and as the video unfolds, the perceived loneliness and desperation of the voyeur stands to challenge notions of deviant sexuality. A series of small watercolors draw on the artist's particular love of oddity, whether male pattern baldness (and the feelings of emasculation that it may engender), child psychology, or the imagined plebian routines of hip hop stars like the ubiquitous 50 Cent. The drawings have a nervous humor made more effective by their emptiness of visual and substantive meaning; their starkness brought about through a certain economy of color, scale and composition. Likewise, a new pair of 'dash' drawings shows an obsession with mark-making, referencing both the journals of Charles Crumb and the work of Agnes Martin. Minimal and reductive, they stand in visual contrast to Thelen's more literal portraits and text drawings but share an interest in process and repetition. Other works in the exhibition will include a new wall painting and a sculpture of the beloved Durham, NC institution, "Biscuit King," as well as a memorial quilt for porn star Roy Garrett (who died of AIDS in 1992), with references ranging from the stigma of male homosexuality to pornographic playing cards and kitsch. Pathos and humor intersect in a witty and poignant tribute. Bill Thelen received his BFA from the University of Wisconsin and his MFA from The University of North Carolina-Chapel Hill. He is the founding member of the Raleigh based artist collective Team Lump as well as the curator of Lump Gallery and Projects in Raleigh, NC; an alternative space with an impressive 11-year exhibition history. Thelen's work has been included in numerous exhibitions in venues across the country and abroad including The Southeast Center for Contemporary Art (NC), the Contemporary Art Center in Atlanta (GA) and Exit Art (NYC). Image: Bill Thelen: minor character installation view Courtesy of the artist and Branch Gallery, NC Branch Gallery, Durham NC Read on...Branch Gallery, Durham NC |
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 Mark Wolfe
Contemporary Art, San Francisco Sarah Hirneisen and Kadie Salfi 6 Sept - 19 Oct 2007 Working independently, Bay Area artists Sarah Hirneisen and Kadie Salfi have produced distinct but thematically interwoven installations for the Gallery space, each a form-based meditation on the cyclonic forces of tradition, religion, and violence that hae historically forged - and continue to shape - reality in the contemporary Middle East. Conceptually compelling and meticulously executed, Hirneisen's and Salfi's objects captivate and disorient. A Levantine reliquary houses over 2,000 oil-filled glass vials. A life-sized dromedary camel silk- screened in crude oil on a plaster mosaic stands over a caravan of 100 miniature, lamp-lit camels hand-cast in bronze. Sharp green blades of living grass sprout from a suspended lattice of spent machine gun shell casings. Soil samples gathered by U.S. Military personnel in Iraq are sealed within etched glass pouches. Islamic devotional prayer rugs of colored glass, intricately patterned - lie shattered. The work taps into and animates our collective memory, our collective understanding, perhaps our collective complicity over the realities of this region known as the "Cradle of Civilization." Hirneisen holds a BFA from the Rhode Island School of Design. She has exhibited widely in the Bay Area, at Southern Exposure, Lobot Gallery, and ProArts. Salfi holds a BFA from The School of the Art Institute of Chicago. She has had solo exhibitions at Live Worms and Fabuloid in San Francisco, and group shows at Southern Exposure, Magnolia Gallery, and A.I.R. Gallery in New York. Images: Sarah Hirneisen "Naming Conventions" (2007) 2,100 hand-etched glass vials, crude oil, wood, glass, neon lights 106 x 56 x 36 cm. Kadie Salfi "Arabian Cambel" (2007) crude oil silk screen on dyed plaster 264 x 386 cm. Courtesy of Mark Wolfe Contemporary Art, San Francisco Mark Wolfe Contemporary Art, San Francisco Read on...Mark Wolfe Contemporary Art, San Francisco |
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 Galerie Caprice
Horn, Berlin LIKE THERE IS NO TOMORROW Violence and Deconstruction Zoya Cherkassky, Atta Kim, Julia Fullerton-Batten, Yun- Sun Jung, Sheila & Nicholas Pye, Robert Gligorov, Daniel & Geo Fuchs, Alona Harpaz, James Higginson, Nadine Rennert and Eli Gur Arie. 29 Sept - 13 Jan 2008 The title of the exhibition is provocative and possibly shocking; above all, however, it is intended to be socially explosive as well as artistically sensitive and intuitive-and also to describe pictorial worlds which can be expected to be loaded with highly expressive symbolic contents. The particular intention of the gallerist Dr. Caprice Horn, who has participated in numerous international photo- and video-juries, is to present a richly faceted spectrum of her most recent program, and thereby to represent an existential aspect of global society, one which illuminates not only psychological nuances but also the profundities of human existence. The photo artist ATTA KIM, born in Korea in 1953, is represented with his most recent series which, in both sensitive portraits and intensively staged obsessions, on the one hand takes up sacred themes and, on the other, adds profane aspects which condense into a spectacular layering of ephemerality, orientalism and apocalypse. Intense chromatic spectrums and distanced, Asian-inspired gestures recall vividly dramatic theatrical worlds whose opulent density, however, also imitates and elucidates film sequences. In their video trilogy, the artistic duo SHEILA & NICHOLAS PYE have taken up the expressive dynamism of the gender theme. Extending far past the tradition of such predecessors as Anne & Louise Wilson or Tony Oursler who in the meantime have become "classic," these works depict the abysses of mental cruelty and, in oppressive film narrations concerning the strategy of the human will to survive, culminate in a dramatic competition between the sexes-as simultaneous allies and enemies. The photographic works of JULIA FULLERTON- BATTEN underscore the aspect of teenagers' reality from a quite special point of view. The competitive situation of the "beautiful and successful" -with the star-cult of Paris Hilton and other glamour girls- which is supercharged in the visual media with model contests and in the print media with the Manga aesthetic, and which becomes socially instigated and exacerbated by glossy magazines, is staged by this artist as a subtle, superficially innocuous ritual of everyday life. In her paintings, ZOYA CHERKASSKY from Kiev institutionalizes the levels and angles of our observations with regard to the "blank spaces" of our social existence. Her deserted views of waiting rooms, public banks or exhibition halls imply the areas of influence between social and hierarchically organized public presence, with its yearning for recognition and prestige, and the necessary withdrawal into the private, almost familial sphere. The works demand an orientation and definition of professional prestige on the one hand, and difficult spatial arrangement on the other. Their painterly, spatial stagings bear witness to the activity of a critically aware but also discretely withdrawn observer. The South Korean artist YUN-SUN JUNG is herself the model for her highly expressive photo montages and, in surreal costumes, she plays her feminine roles from coquettish to bourgeois, erotically charged to cynically affected, arrogant to magnanimous. The techniques of montage and collage are so artificial in her work that her pictures establish a complex referentiality, both to the global advertising and glamour worlds and to portraits of sovereigns and famous figures such as Catherine de' Medici or the Duchess of Alba (painted by Goya), as well as the pale and delicate, Asiatic beauties of the Shiseido make- up campaigns. JAMES HIGGINSON, an American photo- and multimedia-artist coming from Los Angeles, worked for decades in the film and advertising industry. There he sharpened and perfected his view of the superficial aesthetic of the advertising world on the one hand, and the lavish stagings of Hollywood on the other. He subtly disrupts the world of beautiful homes and its yearning for harmony, success and boundless trust, transforming it into a cynical staging of everyday domestic violence, hate and hysteria. The themes of his series are alcoholic fathers who beat their wives in the presence of their children, teenagers who torture and maliciously mock their parents, as well as subjects which are taboo in America, such as drug addiction, depression and excess. In his photographs, the Macedonian ROBERT GLIGOROV opens corporeal worlds which depict human beings as transfigured beasts. His animal camouflages, consisting of skins from plucked poultry or from snakes which are applied to human bodies in an irritatingly authentic manner, demonstrate shockingly how closely the borders of plastic surgery are linked to existential psychological conditions. His hybrids and fabulous chimaeras are skinned and dissected in a mystic-animalistic, diabolical and evil, even cruel manner, with despairing grimaces and tortured mimicry. The artistic duo DANIEL and GEO FUCHS poaches charmingly in the worlds of American comics. Heroes such as Batman and Spiderman, along with artist idols such as Andy Warhol or Jeff Koons-the pop icons of American society-are staged in disguise and masquerade, in an even more artificial manner than they were ever presented in real life. Instead of a wig, Andy Warhol wears a plastic hood and conveys the appearance, not of a figure from a wax museum, but in fact of a display-window mannequin transformed into a mass product. The play with miniatures and models, small figures resembling Barbie dolls, imbues the portraits staged by the Fuchs duo with a cynical aftertaste of Disneyworld, only that the roles are more subtly and ironically outfitted and put "into the picture." During the Art Forum Berlin (29 Sep -3 Oct.2007) the gallery will be opened from 10am to 8pm daily. Art Fairs: Year 07 London 11 -14 Oct 2007 Modern 07 Residenz München 19.-23 Oct 2007 ACAF NY 07 New York 8 -12 Nov 2007 Photo Miami 5 -9 Dec 2007 Image: Atta Kim The Museum Project #046 from the series "People", 1998 Courtesy of Galerie Caprice Horn, Berlin Galerie Caprice Horn, Berlin Read on... Galerie Caprice Horn, Berlin |
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 Fieldgate
Gallery, London INTERVENTION : curated by Richard Ducker 15 Sept 2007 to 13 Oct 2007 Maria Anwander, Ruben Aubrecht, Paul Carter, Amanda Couch, Phil Coy, Cinzia Cremona, Richard Ducker, Shahram Entekhabi with Becky Ofek, Lothar Götz, Andrea Gregson, Andy Harper, Aisling Hedgecock Charlie Jeffery, Christy Johnson, Fiona MacDonald, Sarah Pucill, Julian Hughes Watts, Laura White There is deliberately no theme behind this exhibition, though inevitably thematic associations will emerge. Rather, the intention is to bring together a collection of artists, some of whose work responds directly to the space, while also being open and forgiving enough to allow their piece to intrude into the works of others, or host the work of another. Though not all the artists are 'installation' artists, there is an attempt to explore the idea that all the work in this exhibition exists within a succession of installations. In all group shows the artwork interacts with its neighbour through a variety of ways: association, narrative, contrast, etc., but in this case there will be the addition of some works directly intervening with its neighbour. It will raise questions as to whether this is an intervention, or perceived more aggressively as invasion, or seen in the light of collaboration. The curatorial balance will be between maintaining the integrity of each work while ensuring that it plays its role as part of the 'installation' of the whole exhibition. Inevitably, to some extent this is a normal practise, but in the case of installation art, which normally commands its own spatial logic, it invites a different challenge within these relationships, opening up questions as to where one work ends and another begins, notions of authorship, and the power relationship between artist and curator, while sustaining a cogent exhibition. Image: Installation shot at Fieldgate Gallery, London Courtesy of Fieldgate Gallery, London Fieldgate Gallery, London Read on... Fieldgate Gallery, London |
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 176,
London An Archaeology curated by Elizabeth Neilson 20 Sept - 16 Dec 2007 ZABLUDOWICZ ART PROJECTS ANNOUNCES OPENING OF 176, A NEW CONTEMPORARY ART SPACE IN LONDON Zabludowicz Art Projects today announced that 176, a new art exhibition space, will open at 176 Prince of Wales Road in London's Chalk Farm on 20 September 2007. The gallery will initiate an experimental programme of exhibitions by artists and curators working with the Zabludowicz Collection, which is comprised of works by some of the world's most innovative and exciting emerging artists. 176 Prince of Wales Road was built in 1867 and until the 1960s was the central Methodist Chapel for the Kings Cross and Camden areas. From the 1960s until recent years it was the North London Drama Centre. 176 will not be a traditional art exhibition space; it has three main galleries - two featuring double height ceilings - and six smaller rooms, all with period features. The refurbishment of the building is being overseen by Allford Hall Monaghan Morris architects. A 'light touch' approach to the building will ensure that the layers of history that have evolved in it are not white washed but are revealed and built upon. "The 1867 chapel will be a 'raw' building not a white cube," according to Elizabeth Neilson, Curator and Head of Collection. The programme at 176 will present three major site- specific exhibitions per year, covering all visual art forms, and is founded in research and practice residencies for one curator and one artist per year. The third exhibition of the year will be curated by the Collection curator Elizabeth Neilson. 176 will be an important addition to the London art scene - a place to experience the very best in emerging art - and will give both the public and art professionals the opportunity to explore the breadth and coherency of the Zabludowicz Collection, which currently comprises over 1,000 works by more than 350 contemporary artists from 33 countries. The Collection is one of the first in the UK to focus on collecting emerging artists on a global level. "176 will be a platform for more experimental shows. We want to present emerging artists and allow the Collection to be used as material for exhibitions," commented Anita Zabludowicz, who founded the Zabludowicz Collection over twelve years ago. The opening exhibition, An Archaeology (20 September-16 December 2007) will be curated by Elizabeth Neilson. It will present a new commission by Rina Banerjee (India) based on a residency at 176, and work by other artists in the Collection including Vanessa Beecroft (Italy), Candice Brietz (South Africa), Cris Brodahl (Belgium), Ruth Claxton (UK), Susan Collis (UK), Henry Coombes (UK), Berlinde De Bruyckere (Belgium), Marina de Caro (Brazil), Amie Dicke (Netherlands), Anya Kielar (USA), Rachel Kneebone (UK), Laura Lima (Brazil), Renata Lucas (Brazil), Sarah Lucas (UK), Lee Mealzer (UK), Liz Neal (UK), Alejandra Seeber (Argentina), Anj Smith (UK), Eve Sussman (UK), Mathilde ter Heijine (France), and Francis Upritchard (NZ). A parallel exhibition of works from the Zabludowicz Collection will be held at the international arts institution - BALTIC Centre of Contemporary Art in Gateshead - opening on 21 September to coincide with the opening of 176. This innovative exhibition links directly to 176, which invited Jerome Sans, director of BALTIC's programme, to curate the first exhibition from the Collection to be held in a public institution. When We Build Let Us Think That We Build Forever will feature a new commission for the Zabludowicz Collection by London-based artist Mustafa Hulusi, who has worked closely with Sans to select works from the Collection. The exhibition will show a very different group of works from the London exhibition, and both Hulusi's new commission and the BALTIC will give a very different context than 176 to the Collection's presentation. Image: Ruth Claxton I Thought I was the Audience And Then I Looked at You (green eyes), 2005 Courtesy the artist and Zabludowicz Collection, Copyright: Ruth Claxton, 2007 176, London Read on... 176, London |
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 Contemporary Art
Centre, Vilnius Chicks on Speed: Shoe Fuck! Curator: Simon Rees 7 Sept - 28 Oct 2007 The Joy Is Not Mentioned and Among Us 14 Sept - 28 Oct 2007 The reappraisal of feminism and feminist art has been a hot topic of 2007 in international academic, art, and publishing circles. The CAC is pleased to be lobbing into the discussion with its new season of exhibitions of art made by women: Each of the exhibitions looks towards a different decade--the 1970s, 1980s, and 1990s--for its conceptual impetus and considers its affects from a new millennial perspective. In their largest-scale gallery exhibition to date the all-girl band, performance ensemble and artist collective the Chicks On Speed reprise a number of strategies associated with art and music hailing from the 1970s and Punk. Punk was a movement and moment when women started rocking for themselves, incorporating explicit post- feminist political and performance strategies into their stage-personas, costuming, and stage-productions; high among them being raw sexuality, nudity, inflammatory language and sloganeering. It's all on show in Shoe Fuck! including one of the symbols of late-capitalist women's empowerment--a classic Chanel pump--being put to the test in the exhibition's eponymous work. Part full-throttle commodity fetishism and part transgressive act the work, and the exhibition as a whole, questions whether space for political activism/resistance exists for women in the age of consumerism. Music is also to the fore in The Joy Is Not Mentioned the latest installment of the CAC's ongoing 'young Lithuanian artists' series. The three artists ask "what if the 1980s never happened?" And their answer is; "no Hip-Hop and no street-culture" (that entered mass culture during the decade). Or at least a national pop-culture having difficulty coming to grips with one of the world's dominant cultural and musical forms. This is the predicament of Lithuania-- and of all the former soviet-states. To remedy the situation the artists will be re-staging the Hip-Hop and Street Dance 1980s in Vilnius for the duration of the exhibition. Two radio stations will be broadcasting special programs, and the artists, with the participation of members from the local street-culture community as well as trained dancers, will be turning up with boom-boxes, mics, and rolls of vinyl at street- corners and hang-out spots around the city. It'll be the Bronx in the Baltic. Among Us presents newly commissioned work by: Jurgita Remeikyte, Alma Skersyte, Irma Stanaityte, Laura Stasiulyte, Vilma Sileikiene and Kristina Inciuraite. The exhibition compares and contrasts coincidences and divergences in the artists' practice, set against prescient developments in Lithuanian art and society since the 1990s. It was at the end of the decade marked by independence from the USSR (1991) that a higher number of women started entering the field of contemporary art; as part of a broader entrance of women into public life-- including the fields of business and politics. The exhibition's title, Among Us, was inspired by a series of discussions between the participating artists that identified the exhibition's salient and shared concerns; collective historical memory and the recent transformations of Lithuanian identity. The artists analyze visual codes that have come from the past and question whether they are still recognizable, if they are still b eing exploited or if they've already been forgotten? They study the influence of increasingly dynamic lifestyle on identity, and the collective unconscious in work that reflects upon their personal experience and environment. Chicks on Speed will perform at the opening of their exhibition at 8.00pm on Friday 7 September In association with The Joy Is Not Mentioned, dance floors will be formed on the streets of central Vilnius between 8.00pm-1.00am on Thursday 6 and Friday 7, September Image: Chicks On Speed Courtesy of the artists Contemporary Art Centre, Vilnius Read on... Contemporary Art Centre, Vilnius |
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