Th e exhibition served as both a method of presentation of the
obtained research results and a method of conducting research and
taking it further. e multiple connotations of the exhibition title
(A Show as/on* Artistic Research) unfolded a broad artistic research
discourse, as the chosen adverb it in the Lithuanian title (Paroda it*
meninis tyrimas) has a variety of meanings: “1. like, as if, as, as though;
2. highly, very much, quite, completely, exactly; 3. almost, nearly,
short of ”4. is means that the title can be read equally with hesitation:
“a show like artistic research”; with great certainty: “a show completely like artistic research”; with doubt: “a show nearly as artistic research”; and, nally, with a leap of thought: “a show on artistic research”.
e exhibition consisted of two sections. In one space the artists
displayed their research processes, while the other space was dedicated
to the layout of the process of the research into artistic research that I had initiated, as well as its mapping. It was a collaboration between
scientists, artists, and designers, while the spatial installation at the
Malonioji 6 (Vilnius) project space in November 2014 served as a
snapshot of that research stage. Th e theoretical analysis performed in
the exhibition and before it – as well as the conducted research (as
presented in the first chapter of this monograph) – coalesced with
the work of particular artists, weaving a spatial conceptual narrative
of the artistic research.
2014/11/27 fragments of exhibition
Agnė Alesiūtė. Collective mapping process visualization
Julijonas Urbonas. Research processes (including and correspondence with the public and the film script) from “Euthanasia roller coasters”
Visual research sketches.
Eglė Karpavičiūtė. The study processes of “Science Fiction. Retrospective “
Dainius Liškevičius. The research process of “Museum”
Artūras Raila. The research process of “Power of Earth”
Artūras Raila. The research process of “Power of Earth”
Photo by Arturas Valiauga