{"id":24081,"date":"2025-07-02T13:04:52","date_gmt":"2025-07-02T10:04:52","guid":{"rendered":"https:\/\/lndm.devmerit.com\/radvilu-rumu-dailes-muziejus\/parodos\/akvile-anglickaite-changing-it-rests\/"},"modified":"2025-07-02T13:04:52","modified_gmt":"2025-07-02T10:04:52","slug":"akvile-anglickaite-changing-it-rests","status":"publish","type":"paroda","link":"https:\/\/lndm.devmerit.com\/en\/radvila-palace-museum-of-art\/exhibitions\/akvile-anglickaite-changing-it-rests\/","title":{"rendered":"Akvil\u0117 Anglickait\u0117. Changing, It Rests"},"content":{"rendered":"

\"\"<\/a>Changing,<\/span><\/i> It Rests <\/span><\/i>brings together works by Akvil\u0117 Anglickait\u0117, created over several years specifically for this exhibition, including analogue photographs, videos, and drawings. The exhibition\u2019s title refers to an enigmatic, ambiguous line in <\/span>Fragments of Heraclitus<\/span><\/i> (6th century BC), which paradoxically suggests that the world and all its phenomena are both in constant change, and in unity.<\/span>\u00a0<\/span><\/p>\n

This exhibition can be understood as a work that explores reality (one\u2019s own surroundings, nature, time, context) and creative media. The artist distils certain elements (motifs, parameters) that are essential to each theme and instance, with the hope of gaining a fresh view on the subject and the medium itself.<\/span>\u00a0<\/span><\/p>\n

In a discussion on works with parametric strategies, such as films where recurring formal elements (camera movements, motifs, editing style and other parameters) form an additional layer of meaning, David Bordwell intriguingly noted that these works are characterised by \u2018a richness of texture that resists interpretation\u2019. Perhaps that is why the works in this exhibition have no titles (not even the usual <\/span>Untitled<\/span><\/i>). This can also be interpreted as a question: what and how can still and moving images communicate today when stripped of texts or labels that mediate their meaning?<\/span>\u00a0<\/span><\/p>\n

T<\/span>he wavy, intermittent line of her drawings echoes natural forms and patterns (tree bark, water bodies, etc.) and establishes a motif of circular motion that remains significant throughout the exhibit. The circle in turn becomes a labyrinth of deformed, imperfect symmetry, which also recurs in the exhibition\u2019s two videos, slowly leading the viewer into disorientation or back to the starting point. To a Heraclitean, paradox-loving consciousness, everything takes the form of a circle: light and darkness, beginning and end overlap.<\/span>\u00a0<\/span><\/p>\n

All naturally occurring labyrinths and patterns reflect the time that shaped them. In the videos, light and nature burst into motion. They are edited in a way that eschews narrative and focuses on the parameters of motion, rhythm, and flow, which, alongside the slow, perpetual, cyclical time of nature, form dimensions of a fragmented past. Although the brick walls and the thickets are made up of solid, physical matter, the gaze of the camera transcends these boundaries easily, because these are worlds of memories woven from the fog and mists of the past.<\/span>\u00a0<\/span><\/p>\n

Since its invention, by its very nature, photography has been questioning Heraclitus\u2019s claims \u2013 stepping into the same river twice, recreating fragments of a moment past. Light, a necessary element for photographic metamorphosis, can itself create or destroy images, burn in or scratch out its own abstract marks in the negative. It can also go unnoticed. However, even darkness can supply the prerequisites for thinking about the existence of light.<\/span>\u00a0<\/span><\/p>\n

Looking at the ephemeral flickers of light captured in the space of analogue film, dazzling flares within landscapes and beads of reflections, one feels as if looking at old, anachronistic artefacts extracted from subterranean darkness \u2013 is contemporary language still able to explain them?\u00a0<\/span>\u00a0<\/span><\/p>\n

Text by: Tomas Genevi\u010dius<\/span>\u00a0<\/span><\/p>\n

Architect: Mindaugas Reklaitis<\/span>\u00a0<\/span><\/p>\n

Coordinating Architect: Aleksandras Kavaliauskas<\/span>\u00a0<\/span><\/p>\n

Graphic Designer: Marius <\/span>\u017dalneravi\u010dius<\/span>\u00a0<\/span><\/p>\n

Translator: Paulius Bal\u010dytis<\/span>\u00a0<\/span><\/p>\n

Editor: Laura Patiomkinait\u0117<\/span>\u00a0<\/span><\/p>\n

Organiser: Radvila Palace Museum of Art of the Lithuanian National Museum of Art<\/span>\u00a0<\/span><\/p>\n

The project is financed by: Lithuanian Council for Culture<\/span>\u00a0<\/span><\/p>\n

Sponsor: Vilnius Academy of Arts<\/span>\u00a0<\/span><\/p>\n

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