EGLE GREBLIAUSKAITE

 
 

based artist examines Socio-Psychological Repression Mechanisms underlying the conditions of uncanny. The ambiguous translated in to physical form in order to psychically experience the metaphysics of distress. The artist chooses contemporary media – installation, sculpture, painting, intuitive theoretical and physical strategies in order to reveal mechanisms of anxiety within creating and destroying structures.   

 

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On 4th of February exhibition “I I” of artist Eglė Grėbliauskaitė was opened in project space “Kabinetas", with an open discussion concerning the conditions for creation of meaning and art perception. The moment of birth of a new way of reading is vital in the exhibition “I I” of Eglė Grėbliauskaitė, when an object or the chain of objects experience a continuous reconstruction.

Anxiety is a constant feeling of ambiguous threat. The threat is similar to madness, schizophrenia, I see it in the usual things, familiar and strange faces, locations. It's like knowing that potential threatening scenarios, and the demon agents are "gathered" around and watching my life.

Their “disease” opens suddenly as if I recover my sight for a moment, but then the image returns to normal. However I already know "their" secret reliance to the demon world. It is a bit like a dream or delirium.

My heroes like an increasing number of items in collector's album, form new threatening possible event combinations with each.

I know, that I have to watch “Them” too. Somehow I believe that my observation does not allow them to "act”. It is an attempt to document the invisible, to find cracks, over the negative matter. As much as I am anxious, I am also constantly drawn to it.

I want to pull out those demon secret agents of the metaphysical, "secret " area in to the daylight (the canvas), therefore I paint their portraits.

I want to look them in the eye. I want to expose "them.

I try to describe "them" realistically, clearly, without unnecessary embellishment, and sentimentality. But then I notice that they hid again...

I am left with just my knowledge, but nothing to be shown to prove it. I am still looking for the traces of my knowing about “them”.

I should like to call anxiety a repression. Not only because of its distressing and unyielding faith efforts fashion – I see the concerns derive from specific social and psychological mechanisms of repression.


Those mechanisms are constantly present, calm, casual, slightly exalted, but cold at the same time - almost motionless, as if hiding behind their own signifiers.

“It is for your own safety/good!" kind of repression is so pervasive in the form of a whole that is leveled behind “the best existing alternative” notion. It becomes a natural an integral part of the everyday landscape. Leaving anxiety a mare internal detector or signal of the discomfort.


I explore ambivalent relationship with the everyday elements, on the one hand when things are obvious in their form and space but on the other - hiding contradictory opportunities, which, by its mere existence arise a worrying doubt. However, this hidden is revealed as a condition for the image to be seen and experienced in general. The form of the object becomes just a marginal category from which one can lean against just to explore the dialectics of knowledge trust and belief.


Grėbliauskaitė depicts the gaze of the world described by Lacan, who first realized it when watching a can of sardines at the bottom of a lake. Macabre hunting of demons by catching them in an image that can be destroyed was rampant in medieval times as well. It should have been a reminder of tortures of Hell. But this is a fight, an attempt to grasp an ambiguous uncanny and bothersome gaze.


In the era of vision’s reign, artist’s behavior is not an anachronism – on the contrary - it is a natural reaction. Although it is a bit fearsome… But, for example, Hitchcock believed in therapeutic function of horror and thought that being scared can also bring pleasure. When it ends happily, of course. But, in this case, no one is promising a happy ending. It is a different exercise – its an attempt to document the invisible, to find cracks through which the negative matter is seen. Perceiving the paintings as a sequence of frames of the film, I could say that we get a story that is quite mesmerizing and horrific.


Monika Krikstopaityte

“THE SWILL”, ARTVILNIUS'16 Contemporary Art Fair 2016. LDPE, metal, 9x9x5 m.

“TRIUMPH ARCH”, 2016. Independence square. Next to the Houses of Parliament, Vilnius

"Triumph arch" on Independence Square in Vilnius, next to the Houses of Parliament, built at the parliamentary elections. Built from pressed Low-density polyethylene (LDPE) waste and metal constructions, 7 meter high, 27 tones of weight, constructed on 06.10.2016, lasted only 1 day. After the threats of VAD (at Ministry of Internal Affairs), "Triumph arch" was dismantled on 2016 10 07. According to the Vilnius Municipality approved procedure 1 day arch stood legally. In the request for a longer exposure of the artwork Vilnius City Municipality within the prescribed time limit of 20 days, did not provide neither positive nor negative answer.

“I  I”, Kabinetas, Kaunas, 2016.

“KOMBINATAS”, main Vilnius Art Academy building, Maironio 6, Vilnius. 2015

Egle Grebliauskaite Installation ‘Swill’ talks about excess, waste and plastic in a wider sense of this word. Installation form resembles a toy above child’s bed that hypnotizes and lulls into the sleep.

Installation made from compressed low density plastic trash cubes, connected by 9 meter metal tubes and hung 3.5 meters above the heads of spectators.


A theme of society living in a constant state of object production that creates “the swill” is examined. Plastic objects circulate in an excess market such as leftover plastic bags. Society is being lulled by and in to this overproduction process which is carried by its participants who are themselves also immersed in it without comprehension of such process anymore.


Installation being displayed in art fair works as critical comment on commercialized art market today.

I found those letters on the roof of a defunct meat factory at the end of Savanoriai street. Even though it is empty now, the factory is still imbued with the ten-year-old past. I could almost hear the roar of these cutting and mincing machines—from the outside one would not be able to tell whether they are still operative today… Once you enter the meat factory system, you can be sure that you will be processed properly… And you will leave in peaces…

“MONITORING SYSTEMS” in an exhibition “BLACK ROSES”, Jonas Mekas Visual Arts Center, Vilnius. 2015

“THEY HAD THEIR TOOLS TOO”, 2015, oil on canvas.

“THEIR TOOLS WERE SILVER TOO”, 2013, oil on canvas.

“MĖTOO”, mobile installation, ready made letters from soviet meet factory. A protest for women rights. March 8th 2018, Cathedral squaire - independence squaire, Vilnius.

"A COLD WALL WAKE UP HIT"

November 15 - December 10, 2018, Vilnius.


The installation of several parts in public space is a study of the contradictory figure of Soviet times Lithuanian poet Salomėja Nėris, her historical character, consisting of Monika Kalinauskaite text, audio record of poet's poem's popuri and a her portrait lightbox in a balcony, as well as the city itself, its monuments and institutions which become an integral part of installation. Different elements of the work raise different questions about the personality and role of Neris.


The flirtatious look of the poet's portrait-box overlooking the stone figure monument to Petras Cvirka, a Soviet times writer and political figure, and the sound installation at the Salomėja Nėris gymnasium next to her monument, invite the viewers to experience and rethink countries historical and creative heritage and the complexity of each solution. One can only guess what the two creators of the past would say today, looking other at each across one of the central crossroads of the city.


How and why do we make the decisions we make - and should artists bare the responsibility for the impact of their work? “What are people thinking when taking strange decisions? Something solid and irrefutable, like benefits, or religious and sweet - like their children's cheeks? What glasses should one wear to write a poem about something so boring and ruthless, like a leader or a sausage? What do they look at then?  Themselves, mirrors, dangers, dirty floors? This is not a question that poets or teachers give answers to. Maybe there will be a new beloved or the old face today, and tomorrow - historical trouble and a pit of crime ". - Monika Kalinauskaitė.


The maturity of society is demonstrated by its ability to observe and evaluate itself. It is the works of art that testify to the direction of movement and vision of the society that created them. George Orwell has said that the most effective way to destroy people is not to give them the opportunity to understand their history. Art serves as a cache of memories of the times and can help to retreat from the preconceptions and partly become an educational tool to learn from the past.


Birthday of Neris was an opportunity to reflect on her as the creator and hero of the public figure, and the time she has created, so painfully touching the fate of every citizen of the country. The poet's case today gives us the opportunity to talk about respect for ourselves and others, freedom of self-determination, fear and courage, freedom and its price.


When will we be ready not to destroy or hide the remnants of history, or to scrum them selectively, but to put facts on the table and simply accept them as facts, even if they are uncomfortable? When will we be ready to learn the lessons of history and finally move on - not forgetting, watching upon ourselves?


1. The corner of Pylimo and Iceland streets.

2. Monument to Salomėja Nėris at Salomėja Nėris Gymnasium (Vokiečių str. 32), 8:00 - 22:00.

3. Elska Coffee Café, located near Pamėnkalnio Gallery (Pamėnkalnio Str. 1).

“THEY WILL TRY AND ACT LIKE VICTIMS”.

Project proposal for the tender for temporary art, technological, scientific and other installations, exhibitions and projects organized by Vilnius City Municipality. 2018


In 1952, four groups of sculptures were installed on the Green Bridge: "Youth of Science", by Juozas Mikėnas and Juozas Kėdainis; "The Guard of Peace," by Bronius Pundzius, "Agriculture," by Bernard Bučas and Petras Vaivada; Industry and Construction, by Napoleon Petrulis and Bronius Vyšniauskas.


Works of Soviet realism propaganda art were dismantled on 2015 July 20-21 by Vilnius City Municipality's initiative as not reconcilable with today's socio-political issues of Lithuania.


The implemented project proposes not to deny the original existence of the sculptures, but to copy them under the bridge, and to return them as a historical memory by changing their exhibit status, thus creating a historical opportunity to discuss historical memory.


The project proposes to make real size copies of all four dismantled sculpture groups and mounted under the Green Bridge, attached horizontally to the bottom of the bridge, at four edges, at their original mounting locations. The spectator, in order to see the sculptures of the Soviet regime, would have to descend to the embankment and raise their eyes to the bottom of the bridge. The project also provides an interactive opportunity for the viewer to send the selected sculpture group by sending an SMS with a specially assigned short number. When activated, the legs of the sculpture would descend, positioning the sculpture vertically as the chains holding would gradually be released. The activated sculpture will hang vertically for a few minutes before returning to its original position. At that time, it would be possible to look at the sculptures in a perspective as they were visible when they were standing on the bridge postaments. During dark hours the installation would be illuminated, weaker - in an inactive position, stronger - activated.

“KA”. Abandoned Zarasai department store. 2018, “ZVR”.


Installation - a collaboration with architecture, and with a lingering cultural context of the abandoned Soviet department store in Zarasai. Like many other department stores at that time, it was a synonym with the city center. Through the "univer-magus" (this is how department stores were called), as though, through some magical portals, residents went to the town center to get some contact with the goods and news from out of town. It was the hub of news, public relations, living everyday life. Today, seeing this building for many years empty, one can move in time to the bustling memory. The impression is that either because some anomaly in the time and space matrix, there are several time parallels active. The exhibition activates the remaining symbols of the still-un-functioning univermagus: the illuminated sign “2a. Furniture ”; the still operating luminaires; the sound record at the empty hall of the bustle of the opening ceremony of an exhibition at the contemporary art center of Jonas Mekas in Vilnius, letting in the contemporary art dimension. Paradoxically, the reanimated signs of the building further highlighted its incapacity. Is it a time-out exercise? Yes, nonfertile and pointless, like any nostalgia. Does the looking back to the memory makes the present also seem as temporality?

“ALL QUET IN THE BETTER ACADEMY. SPEAK NOW.”

Academy renewal project “Better Academy” is a 2018-2019 priority. One of its strategic goals is to stimulate students' motivation and develop their creative potential.

Academic Student Testimonies. 23 Mar 2019


Audio and video projection. 18 min.

The project had to be defended due to its critical academic content. The pre-planned publicity was suspended. "You should be happy to have it installed at all". The second part of the project is currently being made. It features the reaction of professor of the academy.


VDA PhD Student Exhibition “What You Do, Do Good”. VDA Gallery Titanikas Vilnius.


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EGLE   GREBLIAUSKAITE, Vilnius

EN: “My expectations were very different from what I found here. It is good that I got a free place to study, but if I had to pay money for being in the group which receives a supervisor for 10 minutes a day who allocates themselves to those who they like more, and others have to study by themselves, it would make no sense”.

EGLE   GREBLIAUSKAITE,     VILNIUS

“C30/37-XC3-CI0, 2-D16-S3, a new good floor for Titanic”. Vilnius Academy of Arts, ground floor exhibition hall Titanic, 2016. Concrete.


Vilnius Academy of Arts exhibition halls are situated in an old printing house building, which Academy renovated and put ochre tiles on the floor on top of original concrete floor. In the architectural plan it stated, that a good floor will be installed. Artist ripped out those tiles and installed a concrete floor in order to get rid of unnecessary cultural layers that Academy became covered with.

“MĖTOO”, installation, ready made letters from Soviet meet factory in front of  main Vilnius Academy of Arts building, Maironio st. 6, Vilnius, video 4:56 min; video 22:00 min, 2018.

for National Emancipation Day, February 17, after multiple cases of #MeToo outbreak in Vilnius Academy of Arts. Academy rectorate did not allow the installation to take place, therefore it appeared laid down on the snow just for the weekend - non opening hours. Emancipation day activists visited installation and lifted letters up standing for a picture.

THE GREEN BRIDGE PROJECT. Project, 2015.

Four pairs of Soviet realism sculptures of Green Bridge were dismantled on 2015 July 20-21 by Vilnius City Municipality's initiative as not reconcilable with today's socio-political issues of Lithuania. The official reason given was renovation of the sculptures. The Green Bridge Project proposes to depict the action of Vilnius Municipality of hiding the sculptures along with historical signs, as if, immersing them in to a river of forgetting. The copies of sculptures would be immersed into the river to emerge for a short period of time after the SMS is sent by the viewer.