Artists: Liudvikas Buklys, Gintaras Didžiapetris, Jason Dodge, Lia Haraki, Maria Hassabi, Phanos Kyriacou, Myriam Lefkowitz, Gabriel Lester, Elena Narbutaitė, Morten Norbye Halvorsen, Algirdas Šeškus, Dexter Sinister, Constantinos Taliotis, Kazys Varnelis, Natalie Yiaxi, Vytautė Žilinskaitė
Curator: Raimundas Malašauskas
Commissioners: Aurimė Aleksandravičiūtė & Jonas Žakaitis
Production Manager: Francesca Bertolotti
Assistant: Justė Jonutytė
Graphic Designer: Goda Budvytytė
Website: http://oo-oo.co/ by Mindaugas Uba
You are here because
of what is about to happen, somebody changing her name to ZoOm, Horace Goldin cutting a metaphor in half, symmetry shimmering, more emails to follow;
of that conversation we once had on the street. You called it a cafe though. In fact it is a fat city1;
of these two pairs of 3D glasses you were wearing that night. “8D!” I said.
you’ve received Antanas Gerlikas’ dream that carried a compressed version of Lithuania’s invocation at the 55th Venice Biennale;
you thought that Darius Miksys’ childhood could be the best tool to re-engineer your own childhood or to restart it right away with new chances2;
Tulips&Roses transformed from a gallery in Brussels to a flying carpet with editorial capacity;
Spotted Raphael, the iridescent satellite of oO, is tweeting from the intersections of life and time. Trust me—it is spotless;
you came to the Hypnotic Show in Kassel summer of 2012;
you are fact checking 2013, or are about to steal a cell phone;
you are here. 1. This same approach to awareness is akin to what I call the ‘geunculus’, the way in which we map events, objects and surroundings that are close to us, or of which we have had a strong or repeated experience as being enlarged. It is the way we map our world and memories into our mind, just as our senses are mapped into the “homunculus”, a part of the brain that registers sensory inputs. If I think of my home and how it relates to my street and city, the door knob and key slot is actually quite huge, the door is big, the path leading to the street is smaller, the street on which I live is still smaller and the city itself spreads out even smaller, as my experience of it is less personal and less thorough. 2. Speaking of ‘contingency managers’. Beware of ideas that grow on you. Cactus-shaped experiences. Fully developed half-lines. Hairy divisions. Or better: a hairy fact with two legs. Being checked. Two countries growing on a wall. Myths, monsters, clocks, true feelings, pretty new dresses, dancing and all that. Yes, we have met already.
Perhaps a secret urge to blossom brings the cactus in Vytautė Žilinskaitė’s tale close to a ball lightning. The latter emerges to Darius Mikšys around the same time in his kitchen. No one is injured; there are no survivors either.
Foundations of the Palasport Arsenale, designed by Enrichetto Capuzzo, are laid in Venice.
Completed Palasport Arsenale is named after Giobatta Gianquinto, a native Venetian, a criminal lawyer, member of Italian Communist Party and mayor of Venice from 1946 to 1951.
The perimeter of the Palasport site is extruded upwards by a windowless, in-situ, cast concrete wall—a modernist architectural gesture towards its historic context. The seemingly cold concrete building is actively used by the local community.
(“You know what, guyth? Letth play. Letth let that thneaky little goat chathe uth thith time!”)
Algirdas Šeškus, then an active photographer, takes a series of shots of gymnastic exercises performed on the morning program of the Soviet Lithuanian TV. “I am not certain whether it was morning or evening then,” he admits today.
11 MARCH 1991
The Republic of Lithuania proclaims its independence and several years later applies for EU membership.
Algirdas Šeškus drops the ‘work’ from the ‘art work’; and concentrates on his bioenergetics healing practice.
Kazys Varnelis, an explorer of the infinite optical universe, paints The Last Shot, his conscious decision to quit painting.
29 OCTOBER 2010
Kazys Varnelis dies.
22–23 SEPTEMBER 2011
A dream containing several elements of oO appears to Antanas Gerlikas (“I met Gintaras Didžiapetris in a vast red brick building with a mirror-like perspective. […]“).
8 NOVEMBER 2012
Raimundas Malašauskas lands in Nicosia to test the premises of two national pavilions as one exhibition called oO. Stelios Votsis, one of the most revered and groundbreaking artists in Cyprus, dies the next morning.
Gabriel Lester conceives oO’s display architecture, which is to be constructed from modular walls shipped to Venice from a number of museums in Europe. Elena Narbutaitė later names the architecture Cousins.
4 DECEMBER 2012
Krõõt Juurak changes her name to KroOt—her name becomes a venue to be rented out to other artists.
1 MARCH 2013
Enrichetto Capuzzo, the architect of Palasport Arsenale, dies.
European Central Bank proposes Cyprus to impose a levy on its bank deposits. An unprecedented case in European financial history. Oo shakes down to its core—one of the two countries is on the brink of collapse.
5 APRIL 2013
An agreement to merge the Lithuanian and Cypriot pavilions with the sports activities of the Venetian schools at Palasport Arsenale is reached.
30 MAY 2013
An exhibition called oO (or Oo) opens at Palasport Arsenale in Venice. Three tales from the ’70s by Vytautė Žilinskaitė are released in two languages as an exhibition catalogue.
Dexter Sinister launches ‘a work that is not there yet’ as a part of an oO sequencer tied to the future.
16 JUNE 2013
A festival of calisthenics takes place at the Palasport Arsenale. 120 girls (ages 4—12) perform in the scenography of Cousins. Daily activities of basketball, football and other sports play out in the company of the exhibition.
27 JUNE 2013
“Two postmen are missing, it’s chaos” fires the June 27th issue of Il Gazzettino on the table of the cafe (precise location to be announced) in Venice.