{"id":25294,"date":"2026-06-15T11:12:54","date_gmt":"2026-06-15T08:12:54","guid":{"rendered":"https:\/\/lndm.devmerit.com\/prano-domsaicio-galerija\/parodos\/sister-tell-me-your-name\/"},"modified":"2026-06-15T11:12:54","modified_gmt":"2026-06-15T08:12:54","slug":"sister-tell-me-your-name","status":"publish","type":"paroda","link":"https:\/\/lndm.devmerit.com\/en\/pranas-domsaitis-gallery\/exhibitions\/sister-tell-me-your-name\/","title":{"rendered":"Sister tell me your name"},"content":{"rendered":"

\"\"<\/a>\u017dilvinas Landzbergas<\/strong>, born in 1979, is a renowned Lithuanian artist. He represented his country at the Venice Biennale in 2017 and has participated in many other international exhibitions, such as the S\u00e3o Paulo and Riga biennials in 2018. Trained as a sculptor at the Vilnius Academy of Arts, where he also teaches, and at the independent artists\u2019 institute De Ateliers in Amsterdam, he is best known for his comprehensive installations. These typically combine sculptures and paintings and drawings, and sometimes also moving-image works, into immersive but always distinctly personal experiences for diverse audiences. Landzbergas also curates exhibitions with other artists. In 2011\u20132013 he ran his own exhibition space in Vilnius, Malonioji 6. He is represented by Meno parkas in Kaunas.<\/p>\n

Landzbergas\u2019s approach to the exhibition situation empowers both him, the author, and us, his viewers and participants. He envisions and constructs, suggests and guides. He strives for a total work of art, a Gesamtkunstwerk<\/em> that emerges in the intersection of planning and improvisation, strategic and operational thinking, narrative and atmosphere. His exhibitions have an \u2018analogue\u2019, \u2018hand-drawn\u2019, \u2018self-built\u2019 feel, encouraging us to delve into his artistic vision and maybe even lose ourselves in it. At the same time they are situated \u2013 and they situate us \u2013 in a present moment that is almost always unclear, demanding and menacing. In other words, Landzbergas speaks to contemporary society in the voice of the artist-as-free-spirit, but also in the voice of the artist-as-social-conscience.<\/p>\n

Dailininkas apipavidalintojas<\/em>, the artist-designer who gives form to everyday life, is a concept from the Lithuanian twentieth century that still feels relevant, also to Landzbergas\u2019s practice, and not least because he has long resisted the temptation to put the artist on a pedestal together with his work. In his socially engaged role, the artist takes on a responsibility for starting and maintaining dialogue, for convincing society about the value of his artistic vision. Today this is no longer an imposition from above to stick a human face to an inhuman regime, but an ethical approach to images and objects, spaces and audiences. It is a political but also time art-specific take on contemporary visual reality.<\/p>\n

Like art institutions and the curators that programme them, the artist works with, for and through other people. He and his work need the viewers and participants to come alive. Landzbergas clearly plays with this interaction. He lowers the threshold for exhibition visitors and entices them to step into a microcosm of the surrounding reality, visually and emotionally enhanced to resemble a film set, a theatrical stage or a cabinet of curiosities. Here he has chosen what might first appear to be the opposite strategy. To enter this exhibition we need to get a key code from the museum\u2019s reception.<\/p>\n

Once inside we realise that everything is set up to resemble someone\u2019s living space. Or is it a space for performing domestic life? The artist-designer has gone about this in a stylised and abstract way, as if he were looking for the most precise visual metaphors for \u2018house\u2019, \u2018home\u2019, \u2018arena\u2019 or ‘platform\u2019. We are encouraged to imagined the ground floor of the museum inhabited by several generations of one extended nuclear family. Grandmother\u2019s room is actually museum-like, with artworks on pedestals and on the walls. Father\u2019s room is a work station and mother, it seems, is always in the kitchen.<\/p>\n

Judging from the overall setup and from the exhibition title, the daughter is the main protagonist here. She is especially present on the round soft platform that we are invited to use. In fact Landzbergas says he created \u2018Sister, tell me your name\u2019 to emulate the treasure box that many young girls keep. You may be allowed to open the box and play with its contents, but only if you observe certain protocols of respect and politeness. This invites us to actively imagine vulnerability and consider people\u2019s need \u2013 or actually their right \u2013 to be safe together. What would a family do at home on a day off? How would they hang out together? Sadly, in these times of war, no such convivial routine is self-evident or guaranteed anymore.<\/p>\n

A T-shaped platform leads us from the last exhibition gallery out into the unexpectedly elegant garden, vaguely Japanese but unmistakably Northern European. \u017dilvinas Landzbergas wanted to incorporate it in the exhibition, so he installed his own hothouse tower there. We exit the garden and the exhibition through a door that leads us back to the street through the reception.<\/p>\n

Anders Kreuger<\/em><\/p>\n

Curator: Anders Kreuger<\/p>\n

Editor: Ilona \u010ciu\u017eauskait\u0117<\/p>\n

Design: Egl\u0117 Kirlyt\u0117<\/p>\n

Soundtrack: Dominykas Digimas<\/p>\n

Media Partners: JCDecaux, Delfi<\/p>\n

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