Investigations into the simultaneity of mirrored geometries: using calligraphy as a starting point: language and form resonate in a dynamic field.
 
 
Valentinas Klimasauskas and Raimundas Malasauskas, in conjunction with the
Vilnius Contemporary Art Centre (Lithuania), curated a book project entitled Yearbook.
 
Every month 2 invited authors continued the story started by the previous
participants (artists, writers, pioneers, etc.) by using individual
association techniques and various print-compatible medias (text, photo,
drawing). One month later their contribution was picked up by next
participant and so the story moved towards the centre of the book at a
steady speed. The project ran exactly one year. The project was produced by the new Vilnius gallery Tulips and Roses http://tulipsandroses.lt/ and here you may
find more info on the project: http://tulipsandroses.lt/lt/yearbook
My contribution followed on from the story by Patricia Esquivel (Land's End
Lands),
 
 
Kalligrascope
 
Following on from the "Tian Ya Hai Tiao" (Limit of Heaven and the
Corner of the Seas) quoted by Patricia Esquivel, I have taken this phrase and transcribed it back into its original Chinese calligraphic form.
 
The above phrase also has a connotation of the "four
anchors of the world," which is essentially to do with placing
boundaries on the infinite.  This process has been carried out by means
of drawing a geomancy-based diagram that relates to the
establishing of the eight directional points of the house in which I live.
By placing the calligraphy (on red paper with china ink) and the
geomancy (on white paper with line drawings) together under the
multiplying effect of a kaleidoscopic array of mirrors, the spell is
reversed, and the infinite is again called into being.
 
The process has been a meditation on the surroundings and experiences
of my living conditions in this month of October 2008, which include
my wedding, echoed in the red paper of the calligraphy which is the
color of Chinese weddings.  The geomancy element reflects a unique
time in my life that coincides with bringing a baby into this world,
as the use of my living space needs to be reconsidered, just as in
preparation, the space inside my womb is being reconfigured.  All in
all, I reversed the standard logic of established order and spun
things back out towards the infinite,  just as the waters of the
Caribbean, gazed at over the length of my honeymoon, reflected endless
hues as well as motions of the undefinable.
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
 
text
 
Additional information from the curators:
 
This work was included in "If you do know that
here is one hand." (http://budni.by.ru/oncertainty.html, the first sentence
from Ludwig Wittgenstein's "On Certainty")
 
The exhibition takes place mostly in the memory of its viewers as the
physical exhibition space is widely dispersed in time and space - at the
Vitrine of the exbar at the Vilnius Contemporary Art Centre (www.cac.lt), at
some museums in Vilnius, a newspaper in North Athens (Siaures Atenai), as well as in one gallery in The Hague. Participants: Nicholas Matranga, Gintaras
Didziapetris, Jennifer Teets, Aaron Schuster, Juozas Laivys, Raimundas
Malasauskas, Elena Narbutaite, OAOA: Marianne Viero, Charles Broskoski, Ed
Askew, Ola Vasiljeva, Martijn In't Veld, Liudvikas Buklys, etc. As the
exhibition will mainly exist in the memory, it might be that it already has
taken place, I mean that it might have taken place in someone's memory as
most of the artworks are/were already existing ones.
 
The most important leitmotif of this spaceless exhibition which exists
beyond time is the heterotopia. Michel Foucault described the museums,
mirrors as the heterotopias - the placeless places, the timeless times. I
add the picture of first Vilnius public museum with the ship on the
cupboard-ship. He also mentioned the ship as the super-heterotopia:
 
"(.) the boat is a floating piece of space, a place without a place, that
exists by itself, that is closed in on itself and at the same time is given
over to the infinity of the sea and that, from port to port, from tack to
tack, from brothel to brothel, it goes as far as the colonies in search of
the most precious treasures they conceal in their gardens, you will
understand why the boat has not only been for our civilization, from the
sixteenth century until the present, the great instrument of economic
development (I have not been speaking of that today), but has been
simultaneously the greatest reserve of the imagination. The ship is the
heterotopia par excellence. In civilizations without boats, dreams dry up,
espionage takes the place of adventure, and the police take the place of
 
 
So this was the exact moment when I remembered this book which was meant to be about the time and now is spaceless, bodyless and timeless. In the
context of the show the fact that it is unfinished makes the book even more
interesting, the heterotopia on its own.