{"id":22091,"date":"2023-07-21T13:45:58","date_gmt":"2023-07-21T10:45:58","guid":{"rendered":"https:\/\/lndm.devmerit.com\/nacionaline-dailes-galerija\/parodos\/overseeing-6-ares-collective-gardens\/"},"modified":"2023-07-21T13:45:58","modified_gmt":"2023-07-21T10:45:58","slug":"overseeing-6-ares-collective-gardens","status":"publish","type":"paroda","link":"https:\/\/lndm.devmerit.com\/en\/national-gallery-of-art\/exhibitions\/overseeing-6-ares-collective-gardens\/","title":{"rendered":"Overseeing 6 ares. Collective Gardens"},"content":{"rendered":"<p style=\"text-align: justify;\">Whether it was the act of digging into the ground with your hands, feeling the soil under your nails and forging a connection with nature, or building an idyllic summer house to consolidate your status as a successful Soviet citizen, community gardens offered numerous avenues for self-expression. The regime not only tolerated such expression, but actively encouraged it for various reasons. It promoted active participation in community gardening, promising citizens access to tools, designs for summer houses, seedlings, and even public transport tickets \u2013 at least in theory. In practice, the reality was much more lacklustre. Nevertheless, the establishment of community gardens was a significant infrastructural and ideological project that required pretext, planning, and resources. So why bother in the first place? And what should come of it?<\/p>\n<p style=\"text-align: justify;\">The initial decree calling for the widespread establishment of community gardens in the Soviet republics was issued in 1949. The beginning of this initiative coincided with significant food and housing shortages, but over time, it evolved to encompass not only pragmatic goals but also more profound spiritual aspirations of the government. Headlines in journals aligned with the official ideology, such as when <em>Our Gardens<\/em> proclaimed: \u2018The garden enriches a man\u2019. Meanwhile, a parallel world was emerging in the vast expanse of the hundreds of thousands of 600-square-metre plots \u2013 from menial labour to financial schemes, from petty intrigues to personal utopias, and even discussions between members of the cultural elite and dissidents. Requiring constant care from the gardeners, these 600-square-metre allotments and the processes that took place in them would not escape the scrutiny of the government. The 600 square metres of land became a space of political, economic, architectural, and cultural conflict, but also one of opportunity, where the ailing system and its subjects found themselves entangled in a complex love-hate relationship with the gardens.<\/p>\n<p style=\"text-align: justify;\">Over the decades, community gardens have become a deeply ingrained phenomenon in our collective consciousness. Initially established on the barren, abandoned land of former military bases or collective farms, these allotments are now flirting with suburban lifestyles or being reborn in new forms, such as community initiatives. Our relationship with these strange, seemingly liminal places has been reflected on by creators across various fields, including painters, contemporary artists, architects, photographers, television producers, and writers. Through their artistic works and archival materials, the exhibition showcases the diverse visions and contradictions of collective gardens: the challenges posed by infrastructure, the wide variety of summer houses, the gardeners\u2019 penchant for risky undertakings, and the gardens themselves with their constant demand for maintenance, being both binding and liberating at the same time.<\/p>\n<p style=\"text-align: justify;\"><strong>Organiser<\/strong>: National Gallery of Art of the Lithuanian National Museum of Art<\/p>\n<p style=\"text-align: justify;\"><strong>Creators of artworks and other exhibits<\/strong>: Algimantas Au\u0161i\u016bra, Eugenijus Barzd\u017eius, Feliksas Bielinskis, Jonas Bura\u010das, Juozas \u010cepavi\u010dius, Kazys Dauk\u0161a, Andrius Erminas, Egl\u0117 Gineityt\u0117, Gintar\u0117 Grig\u0117nait\u0117, Linas Jusionis, Stanislovas Karanauskas, Birut\u0117 Kasperavi\u010dien\u0117, Jonas Klima\u0161auskas, Vsevolod Kovalevskij, Feliksas Lukauskas, Ignas Maldus, Algirdas Mulvinskas, Algimantas ir Vytautas Nasvy\u010diai, Domantas Pigulevi\u010dius, Up\u0117 Pilitauskait\u0117, Lukas Pilkauskas, \u201ePUPA Life over space\u201c, Mindaugas Skudutis, R\u016bta Spelskyt\u0117, Vladas Suncovas, Algimantas \u0160v\u0117g\u017eda, Andrej Vasilenko<\/p>\n<p style=\"text-align: justify;\"><strong>Curators<\/strong>: Goda Aksamitauskait\u0117, Matas \u0160iup\u0161inskas\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong>Architect<\/strong>: Gabriel\u0117 \u010cerniavskaja\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong>Designer<\/strong>: Laura Grigali\u016bnait\u0117\u00a0<\/p>\n<p style=\"text-align: justify;\"><strong>Architect-producer<\/strong>: Mindaugas Reklaitis<\/p>\n<p style=\"text-align: justify;\"><strong>Translators<\/strong>: Paulius Bal\u010dytis, Erika Lastovskyt\u0117-Fritolli<\/p>\n<p style=\"text-align: justify;\"><strong>Editors<\/strong>: John W. Fail, Laura Patiomkinait\u0117-\u010ceik\u0117, Ieva Puluikien\u0117<\/p>\n<p style=\"text-align: justify;\">\n<strong>Partner<\/strong>: Lietuvos kino centras<br \/>\n<strong>Sponsored by<\/strong> Exterus, Fundermax<\/p>\n<p style=\"text-align: justify;\"><strong>Exhibits lent by:<\/strong>\u00a0Digital Tsunami, Kretinga Museum,\u00a0The Lithuanian National Museum of Art,\u00a0Lithuanian Central State Archives,\u00a0Lithuanian Film Centre, Lithuanian Archives of Literature and Art,\u00a0Martynas Ma\u017evydas National Library of Lithuania, Lithuanian State Modern Archives, MO Museum,\u00a0Panev\u0117\u017eys County Gabriel\u0117 Petkevi\u010dait\u0117-Bit\u0117 Public Library, Utena Regional History Museum,\u00a0Ukmerg\u0117 Regional History Museum,\u00a0Vilnius Regional State Archives, Rasa Chmieliauskait\u0117, Dalius Gerulaitis, Vytas Petrauskas, Irena ir Stasys Vy\u017eintai, Ieva \u0160alomskien\u0117, Sigita \u0160iup\u0161inskait\u0117<\/p>\n<p><strong>Financed by<\/strong><\/p>\n<p><img loading=\"lazy\" decoding=\"async\" class=\"alignnone wp-image-33088\" src=\"https:\/\/lndm.devmerit.com\/wp-content\/uploads\/2019\/08\/pro-vg_d-LKT_EN-1.jpg\" alt=\"\" width=\"151\" height=\"51\" \/><\/p>\n","protected":false},"excerpt":{"rendered":"<p>Whether it was the act of digging into the ground with your hands, feeling the soil under your nails and forging a connection with nature, or building an idyllic summer house to consolidate your status as a successful Soviet citizen, community gardens offered numerous avenues for self-expression. The regime not only tolerated such expression, but [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":22092,"template":"","tags":[],"department":[74],"parodos-zymos":[195],"class_list":["post-22091","paroda","type-paroda","status-publish","has-post-thumbnail","hentry","department-national-gallery-of-art","parodos-zymos-paroda"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v28.3 - https:\/\/yoast.com\/product\/yoast-seo-wordpress\/ -->\n<title>Overseeing 6 ares. Collective Gardens - Lietuvos nacionalinis dail\u0117s muziejus<\/title>\n<meta name=\"robots\" content=\"noindex, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Overseeing 6 ares. 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