The Latvian Centre for Contemporary Art (LCCA) marks its 25th anniversary by presenting a series of performative walks and events titled Time, Dawn, or a Passing Train.  The start of the extensive anniversary programme will be marked by celebrations throughout the entire day and night of May 31 in Riga and will continue in the unique form of a series of walks organised monthly until October of this year.

Since its founding in 2000, the LCCA has significantly influenced the development of contemporary art in Latvia by providing a platform for artistic expression and increasing the international recognition of Latvian contemporary art. The LCCA has also launched a series of significant processes in the cultural sphere in Latvia, developing educational methods and encouraging inclusive approaches in the arts.

Without being tied to a specific location or exhibition venue, events organized by the LCCA mostly take place in the spaces of other art institutions. The organization’s nomadic way of working has inspired the format of the 25th anniversary celebration, which encourages visitors to look at the LCCA as a living organism – a mycelium – whose threads of activity and influence spread through walks led by artists, writers, poets, philosophers, researchers and curators, who collectively carry out cultural mapping of the urban environment.

The name of the event series – Time, Dawn, or a Passing Train – is a reference to one of the most iconic practices in Latvian avant-garde art: the Walks to Bolderāja, carried out in the 1980s by members of the artist group NSRD (“The Workshop For The Restoration Of Unfelt Feelings”).

On May 31, the anniversary celebrations will kick off with an almost 24-hour-long event spread across six different locations in Riga. Activities and performances throughout the day will highlight significant moments in the LCCA’s history, as well as its collaborative ties with members of the Latvian art ecosystem, and will create new opportunities for dialogue between art and society. The day program will conclude with the opening of the artist Andris Eglītis’s solo exhibition Still Under the Sky at the Spirits & Wine venue in Andrejosta, followed by musical performances and dancing until dawn at the former Boļševička textile factory in Sarkandaugava.

May 31 programme of the LCCA 25th Anniversary Walks Time, Dawn, or a Passing Train:

11:00 Total body workout at the National Library of Latvia (LNB)
On the morning of May 31, the artists Katrīna Neiburga and Monika Pormale will reconstruct the performance Total body workout by the artist Kristīne Kursiša, inspired by aerobics classes and feminist ideas. The performance was witnessed for the first time in 2002 at 6th Element, an exhibition of women artists organized by the LCCA. This event will test methods for reconstructing process art while bringing to life the context of our current moment.

12:00 Performative procession by the artist collective Grāfienes (“Countesses”) from the National Library of Latvia to the Art Academy of Latvia

13:00–15:00 Culinary performance “Reemergence of Land of Plenty” in the garden of the Art Academy of Latvia (LMA)
With this reconstruction of the performance “Land of Plenty” from the first edition of the annual contemporary art festival Survival Kit (2009) – in which artists and poets prepared daily meals for any hungry person who wanted one on the premises of a bankrupt wine shop on Dzirnavu Street – art will feed the people once again in the LMA garden! The authors of the celebratory soup will be the artist Katrīna Neiburga and the poet Agnese Krivade. The food at the LCCA’s 25th anniversary table will be served to the guests by artists, whose only request is that the guests arrive hungry.

Meanwhile, the team of the philosophy journal “Tvērums” will host table talks in the LMA garden, inviting guests to engage in discussions on key texts about aesthetics, visual art, and cultural theory — all published in the LCCA’s Translation Series.

15:00–16:00 Curatorial tour by curator Andra Silapētere of Viktors Timofejevs’s solo exhibition Other Passengers at the Latvian National Museum of Art (LNMM)

15:00–17:00 Creative workshops – diversity festival for families in the courtyard of the Pauls Stradins Medicine History Museum
In a performative procession, together with the artist Anda Lāce, everyone interested will have the opportunity to bring into motion the harbinger of spring – the yellow caterpillar. The caterpillar is a special work of art that comes to life only when several of its bearers collaborate, becoming participants and executors of the performance. 

The artist Eva Vēvere will lead an active art workshop or training for capturing ideas titled Throw an Idea. And the art therapists Lība Bērziņa and Tengjo Kura (JP) will call for reflection on what is often overlooked and stands out as different in society – including attitudes towards people with disabilities. To find similarities and celebrate diversity through art, workshop participants will have the opportunity to share stories and create paper objects, in the end creating a festive table – an art installation – together.

19:00 Opening of Andris Eglītis’s solo exhibition Still Under the Sky
The premises of the company Spirits & Wine – in the place which used to be the LCCA exhibition hall – will host the opening of the solo exhibition Still Under the Sky by the artist Andris Eglītis. The event will bring back the memory of the artist’s first solo exhibition Under the Sky  which took place at the same venue in 2008.

21:00–05:00 Music and dancing until sunrise in the Boļševička area
The first day of anniversary events will conclude with a programme of performances, site-specific art, and music, featuring the participation of: the musical ensemble Ansamblis NSR, the band Zvīņas and “Tante Gaida”, the composer Platons Buravickis, and the artists Liene Pavlovska, Andris Eglītis, Artūrs Virtmanis, Miķelis and Anna Fišers, DJ Krauklis, DJ Tim Jugla, et al.

The LCCA’s 25th anniversary programme will continue with monthly walks in Riga, Aluksne, and Helsinki from June until October, referencing socially relevant themes and problems as well as sketching out future trajectories. A detailed programme of upcoming walks during the summer and the autumn will be announced soon.

The walk series Time, Dawn, or a Passing Train is organized by the Latvian Centre for Contemporary Art. The project is supported by the Nordic Culture and Art Programme, Riga City Council, Satori, Riga Art Week, and the magazine Kulturas Diena.

The project is implemented in cooperation with the National Library of Latvia, Latvian National Museum of Art, Art Academy of Latvia, Pauls Stradins Medicine History Museum and M-Cult (Helsinki).

RUPERT RESIDENCY invites to join for the Moving Images screening Against Forgetting at Sapieha Palace on Monday, May 12 at 6 pm.

Against Forgetting presents films from Rupert residents Sweatmother, Annie Crabtree and Siru Wen.

Though each artist approaches filmmaking through different means, they all address how memory is tenuous, traumas compound, and contest the obsolescence of our flawed, gossamer biotechnological hard drives. The programme’s title, ‘Against Forgetting’, relates to Sweatmother’s Otherness Archive project, which they are working on while at Rupert between April and May 2025.

The programme is assembled by JL Murtaugh , with curatorial assistance from Tea Gradassi. Sapieha Palace head of research—curator Inesa Brašiškė will conduct a conversation with artists Annie Crabtree and Sweatmother following the screening.

The event will be held in English.

To buy tickets, please check bilietai.sapiegurumai.lt

Publicity image: Siru Wen, 二姨, 三轮车 Aunt, a Tricycle, 2021, still from video. Courtesy of the artist.

On May 14 JAM FACTORY invites you to a work-in-progress showing of the dance performance “The Eternal Return” by Rita Lira and Daria Koval. During the performance, the dancers explore various models of cyclicality to understand whether it’s possible to find a weak spot in the cycle of conflicts, break it, and create a new story.

“Eternal Return” is a duet dance performance where two Ukrainian dancers, in collaboration with a theoretical physicist and French visual artists, explore the concept of cycles in nature and human history, with a focus on the recurring nature of wars. At its core, the performance aims to use dance as a ritual to break the eternal cycle of war and conflict. By integrating movement, scientific theory, and visual art, the interdisciplinary work highlights the profound impact of historical repetition and the urgent need for transformation.

“The desire to create this project stems from my personal experience of war and the attempt to comprehend it. In my childhood, grandma would often tell World War II memories; back then, they seemed like simple stories to me. Not until I saw the war with my own eyes. In just three generations, we have come full circle. This is why I want to explore the nature of cyclicality from various scientific perspectives and create a ritual that will break the cycle of wars repeating in the world.”
— Daria Koval

The work is inspired by Friedrich Nietzsche’s concept of “eternal return,” which suggests that events in the universe repeat endlessly. This principle serves as a lens to examine how wars and conflicts persist throughout human history. Through dance, the performers reflect on how we might disrupt this cycle to create a new, hopeful future.

France, as a nation that endured numerous wars before achieving lasting peace, serves as a historical example of breaking destructive cycles. The research incorporates insights from French scholars who have significantly contributed to the study of cyclical patterns in history, economics, and society. Fernand Braudel, a renowned French historian, introduced the concept of “longue durée” (long duration), emphasizing the role of long-term economic, social, and ecological structures that repeat over time. His ideas guide the dancers in visualizing and embodying the cycles, creating choreography that reflects these recurring processes.

The performance also draws upon the work of Louis de Broglie, a French physicist whose discoveries in quantum mechanics and the wave theory of particles revealed the cyclical oscillations of matter in time and space. De Broglie demonstrated that elementary particles exhibit properties of both particles and waves — a concept that profoundly impacts our understanding of cyclicality in nature. These scientific principles are integrated into the choreography to represent the fundamental cyclical processes that permeate the universe, from microscopic scales to cosmic dimensions.

The first work-in-progress presentation took place on November 15 in Paris, at the National Theatre of Chaillot, as part of the “Chaillot Fabrique” residency, with the support of the Ukrainian Institute in France and the Ukrainian Contemporary Dance Platform.

Performance and choreography: Rita Lira, Daria Koval
Visual artist: Sébastien Mercier
Visual artist and technical director: Fabrice Starzinskas
Composer and sound artist: Yana Shliabanska
Physics, scientific consultant: Dmytro Zharov

May 14 at 7:00 PM
Lviv, 124 Bohdana Khmelnytskoho St. (Novo 1 Hall)
Free admission with registration. Limited seating.

This year’s biennial Bounding Histories, Whispering Tales will feature over 60 artists and five specially commissioned works, many of which address themes of historical trauma, contemporary crises, and the possibilities of reparation and solidarity.

The biennial program will present: Lawrence Abu Hamdan, Ana Adam, Alle Dicu, Marina Abramović & Ulay, Bora Baboçi, Maja Bajević, Mona Benyamin, Željka Blakšić, Pavel Brăila, Geta Brătescu, Brief Histories (Isak Berbic, Fawz Kabra), Cian Dayrit, Christine Cizmaș, Marieta Chirulescu, Clément Cogitore, Lorena Cocioni, Moriah Evans, Simone Forti, Jošt Franko, Robert Gabris, Alicia Mihai Gazcue, Ladislava Gažiová, Jean Genet, Liam Gillick & Anton Vidokle, Karpo Godina, Maria Guțu, Petrit Halilaj, Veronika Hapchenko, Sky Hopinka, Loredana Ilie, Siniša Ilić, Joan Jonas, Hassan Khan, Dana Kavelina, Belinda Kazeem-Kamiński, Kapwani Kiwanga, Ana Kun, David Maljković, Jumana Manna, Teresa Margolles, Silvia Moldovan, Alban Muja, Oscar Murillo, Andrei Nacu, Marina Naprushkina, Eduardo Navarro, Christian Nyampeta, Mila Panić, Manuel Pelmuș, Gavril Pop, Raluca Popa, Ghenadie Popescu, The Resurrection Committee (Ovidiu Țichindeleanu, Raluca Voinea), Larissa Sansour, Ștefan Sava, Selma Selman, Larisa Sitar, Bojan Stojčić, ŠKART, Nora Turato, Johanna Unzueta, Mark Verlan, Cecilia Vicuña, Rosario Zorraquin.

Curators of the biennial Ana Janevski and Tevž Logar.

From May 30 to July 13, 2025, Timisoara will pulse with the creative energy of a Bienniale that promises to redefine the way we relate to contemporary art. From exhibitions, to debates and special events, the Art Encounters Bienniale offers a living space for interaction, where artists and the public come together to explore the pressing questions of the past, present and future.

The opening weekend, scheduled for May 30 – June 1, 2025, will be full of exciting activities, including guided tours of the exhibitions, interactive workshops, and artist talks.

The Bienniale’s program will include a diverse series of exhibitions, each bringing unique perspectives on contemporary art to the forefront, along with special events that will invite the public to engage actively in stimulating dialogues with curators, artists and other art world personalities.

EP. 65: about the exhibition Stanisław Wyspiański: Portraits at the National Portrait Gallery in London – in conversation with Alison Smith – curator of the display, previously Chief Curator of the National Portrait Gallery, London and currently Director of Collections and Research at the Wallace Collection. Together with Andrzej Szczerski—curated a display of Stanisław Wyspiański’s pastel portraits, now on view at the National Portrait Gallery until 13 July 2025.

Stanisław Wyspiański (1869-1907) was a Polish painter, designer, poet and originator of modern Polish Theater. He was also a key figure of the Młoda Polska (Young Poland) art movement that helped keep national identity alive during Poland’s partitions.

This podcast episode offers a glimpse into the unique pastel works of Wyspiański, featuring stories of his sitters—including members of the Cracovian intelligentsia—his family, and the artist himself, as well as his decade-long struggle with an illness that profoundly shaped his life and creative output.

The one-room display, showing 16 of Wyspiański’s pastel portraits at the National Portrait Gallery in London is free and open to all till the 13th of July 2025.

Listen here (on Spotify or other podcast platforms) – https://linktr.ee/kitchenconversations

References:

About the Exhibition: https://www.npg.org.uk/

Exhibition Catalogue: https://npgshop.org.uk/collections/books/products/stanislaw-wyspianski-portraits-hardcover-catalogue

This episode was created for and with support of the Contemporary LYNX and with support of the Polish Cultural Institute London.

Podcast thumbnail: Józio Feldman by Stanisław Wyspiański, 1905. National Museum in Kraków. Photo: Bartosz Cygan/NMK Digitization Studio.

Recording & editing: Patrycja Rozwora; Mix & master: Jonas Kröper

Support or get in touch: https://linktr.ee/kitchenconversations

OPENING: 15/05/2025, 18.00 – 20.00

Curated by: Eleonora Bojanowska and Katie Zazenski

Opening hours:

Every Wednesday: 18:00-20:00
Every Friday: 16:00-20:00
or by appointment

The question marking the title of this exhibition, “Dude, why do I need candy in my life?”, simultaneously cynical and profound, calls attention to a world where violence, both personal and systemic, has become an unbroken, choreographed cycle. Kucharzewski’s work reflects on the ways in which street culture – symbolized in part by the ubiquitous presence of graffiti – functions as a performance space. For his exhibition in Stroboskop, the garage – a potent symbol of the interstitial spaces where the boundary between public and private, violence and tenderness, is blurred – exists also at the threshold of transit and stasis, where ideas of power and normativity are played out all the time. Here, the garage – often considered a non-site – is an intimate space where rituals of masculinity are enacted, performed, and reified. But it is also here where the rules are re-written, where transgressions occur, and the violence that is enacted upon bodies, both self-inflicted and otherwise, becomes re-interpreted into a language of ethics and morality.

In addition to being the first exhibition at Stroboskop of the season, it also marks the anniversary of the art space’s 9th season! Come celebrate with us!

Temporality and timelessness collide in a sonic composition by the Canadian artist Charles Stankievech. We invite you to Galerie Rudolfinum for a live performance on Friday, May 9 at 6 pm. The admission is free.

Marshalling both subterranean and cosmic noise, the work invites viewers to meditate on deep time, deep space, and deep listening. Spanning the full spectrum of frequencies, The Glass Key comprises original electromagnetic recordings of the ionosphere, hydrophone recordings of both Arctic ice and Yucatán cenotes, and echoes within Lanzarote’s volcanic calderas. The work was originally a commission for James Turrell’s amphitheater Tree of Light, in the Yucatán.

Perfomance by the exhibiting artist Charles Stankievech from the series Art Sounds is the final accompanying programme to the exhibition Poetics of Encryption. The exhibition closes on Sunday, May 11.

About the artist

Charles Stankievech is an artist redefining “fieldwork” at the convergence of geopolitics, deep ecologies, and sonic resonances. From the Arctic’s northernmost settlement to the depths of the Pacific Ocean, Stankievech’s practice uncovers the paradoxes of our existence on the planet by engaging with the imperceptible. Exhibitions and performances at Haus der Kulturen der Welt, Berlin; Canadian Centre for Architecture, Montréal; KW Institute for Contemporary Art, Berlin; Louisiana Museum of Modern Art, Denmark; National Gallery of Canada, Ottawa; TBA21, Vienna; ISSUE Project, New York; TAE Foundation, Mexico; Venice Biennale; Santa Fe Biennial; Berlin Biennale; and documenta 13. He co-founded the Yukon School of Visual Art and K. Verlag. He’s been editor at Afterall Journal since 2015, and his writing has been published by MIT, Verso, e-flux, and Sternberg. He is Associate Professor in the Faculty of Architecture, Landscape, and Design, University of Toronto; and visiting research professor in the Department of Architecture, University of Tokyo for 2022–23.

Exhibited artwork:

The Desert Turned to Glass, 2023
Floating meteorite sculpture and volcanic sand
Dimensions variable
Courtesy of Studio Stankievech & KIN Brussels

Deadline for applications: 18/05/2025

Pragovka Gallery announces an open call for exhibition and authorial projects for the Pragovka Gallery 2026 exhibition programme. The theme this time is Mutual Benefits.

All important information can be found directly in the open call form.

Apply here

The theme Mutual Benefits for Pragovka Gallery’s international exhibition program in 2026 offers an opportunity to reflect on the various forms collaboration, sharing, and reciprocity can take in today’s world — across art, society, nature, and technology.

We are interested in projects that explore reciprocity in natural systems — such as symbiosis, mutualism, and other models of coexistence and cooperation within ecosystems — and examine how these principles can be reflected in the context of climate crisis and ecological depletion. We welcome projects that deal with human relationships, collective processes, shared authorship, responsibility, care, and solidarity, as well as issues of participation and collective creation. We are also open to projects focusing on alternative economies — barter, gifting, community-based and circular models of value and resource sharing. The theme Mutual Benefits also includes broader ecosystems of cooperation across species and technologies, including questions of ethics, agency, and relationships with more-than-human actors. We are equally interested in the dynamics of collaboration between artists, curators, institutions, and audiences, and in approaches that reconsider cultural infrastructures as networks of mutual support.

We ask critical questions: what are the risks and limits of reciprocity? Where does collaboration end and exploitation begin? What do compromises mean, and how can different interests be balanced in collective projects?

The topic Mutual Benefits explores interdependence and collaboration across human and more-than-human systems. It focuses on care processes, shared responsibility, and sustainability that shape the dynamics of ecological, social, and political communities. By analyzing internal structures and invisible processes, it emphasizes how mutual relationships can bring benefit to all involved — from human actors to natural ecosystems. Projects may address not only external forms of collaboration but also internal processes of care, regeneration, and transformation, which are crucial to long-term sustainability.

This approach highlights the importance of moving beyond hierarchical relationships toward models of mutual support and reciprocity, where the well-being of the individual and the whole are interconnected. It explores how shared practices of care and ecology can serve as tools to strengthen communities while protecting the fragile ecosystems in which we live.

The call is open to a wide range of approaches.

We look forward to receiving your projects and to future collaboration!

OPENING: 14/05/2025, 18.00

Curator: Sára Märc

Multimedia artist Tereza Kalousová’s first solo exhibition builds thematically on her previous work, which explored the possibilities of intimacy and corporality at the borders of the virtual and real worlds. In her latest video, she explores the distorted desire for proximity, which is projected onto an object that embodies protection, freedom, power and control – the car. For the artist, the car is not just a means of fast transport or a metaphorical reflection of human values, but an exoskeleton penetrating the innermost layers of our identity and accelerating our ability to adapt to the rapidly changing world in front of the windscreen. The video is thus a speculative ride in which the boundaries between things, technologies and subjects, between the heated outside and the mysterious inside, are dissolved.

Credits:

production manager: Tereza Vinklárková, Nela Klajbanová

technical support: Jan Olt

video mapping, light design: Pavel Havrda

proofreading of the curatorial text: Michal Jurza

translation of curatorial text: Jan Ciosk

graphic design: Nela Klímová

pictures: Jan Kolský

pictures from the opening: Oskar Helcel

Vanilla Sky (10’20”, 2025)

camera: Giovanni Salice

set assistance: Viktor Eichler

make-up: Zoia Atkinson

driver: Justin Scott Livesey

actor-passenger: Oonagh Remkes

Alexis & radio voiceover: Nelli Molfenter (Nemo)

John voiceover: Matthew Oxley

CGI: Viktor Eichler

subtitle graphic design: Alec Baldin

Special thanks: Šimon Chlouba

Application deadline: 15/05/2025

Unschool of Curating with Raimundas Malašauskas: July 6–April 13

Art Encounters Foundation (Timișoara) and Cluj Cultural Centre (Cluj-Napoca) are launching the open call for the Unschool of Curating, taking place in Cluj and Timișoara, Romania between July 6–13, 2025. The programme—developed collaboratively by the two organizations—aims to strengthen curatorial networks in Romania and internationally.

The Unschool of Curating is an intensive eight-day seminar, formerly known as The Autumn School of Curating. With its newly adopted name, the programme signals a focus on informal methodologies, alternative pedagogies, and practice-led curatorial discourse.

Its seventh edition, led by renowned curator  Raimundas Malašauskas, offers emerging curators an international platform for dialogue, knowledge exchange, and learning. Over the course of the program the participants will be immersed in the artistic context that both cities have to offer while exploring concepts and conversations around the theme The Art of Chaos:

“We are living through a deeper mess than many of us remember. And for those of us—still alive, still trying to make sense of things—the word chaos is everywhere (even the dead are said to be turning in their graves).

It arrives from all sides: academia, poetry, the street. Yet rarely is it remembered in its ancient Greek sense—as a gaping openness, a primordial potential. Nor is it treated with the precision of mathematics, where chaos is not a metaphor but a measurable fact. More often, it serves as shorthand for disorder, unpredictability, noise. In other words: a deep mess.

But chaos is also generative. It carries the swirling, shimmering potential so often cherished in the arts. There is a whole history of chaos-poetics. And at the same time, chaos is the very condition authoritarian forces exploit to install new masters and new forms of control. It holds a dark potency—charged with fear, ripe with danger.

There is always the chance that the poetics of chaos may meet the logistics of chaos to generate something new. And there’s always the chance they’ll never meet at all—each running its course to extremes. 

Today, the art of exhibition-making finds itself in a peculiar relation to chaos. An exhibition is an enterprise of illumination, knowledge, and—in its mass grandeur—a spectacle. But can a curated space remain porous to the unpredictable? Can it hold space for what cannot be resolved?

In this seminar, we may ask: how do we care for what resists control and order? Or for what does not ask to be cared for? How do we engage with the hardly controllable—gases, beats, improvised gestures, smells, photons—and the un-curatable, un-curable, unforgivable?”

The programme of the Unschool of Curating is split between three days in Cluj and three days in Timișoara and includes lectures and working sessions with the course leader, presentations and workshops with guest speakers, visits to local galleries, art venues and exhibitions, and meetings with curators and artists. Two public events are organized as part of the programme –a public lecture of the course leader in Cluj and an open conversation with participants in Timișoara.

Who can apply
Emerging professionals in the field of contemporary art curating, with at least 3 years’ experience. The Unschool of Curating is free of charge and open to international candidates. We strongly encourage Romanian curators to apply to the programme, as well as professionals from the wider region. The courses will be held in English. Availability in person for the entire course is required in Cluj and Timișoara. 

What is covered by the programme
The programme is free of charge. Organisers will cover:
–accommodation costs for the sessions scheduled in Cluj-Napoca (3 nights) and Timișoara (4 nights) from July 7–13, in double rooms 
–transport costs from Cluj-Napoca to Timișoara on July 9 (by bus)
–two collective dinners, one in Cluj and one in Timișoara

Organisers can also support participants with recommendation letters or official invitation letters in support of visa applications or scholarships that participants apply for independently. 

What is not covered by the programme
–international and local travel for participants, others than those mentioned above
–meals for the whole duration of the programme, others than those mentioned above
–visa costs or any other costs related to the participation in the programme
–any personal costs that might be incurred throughout the programme

Application deadline: May 15, 2025. 

How to apply
Applications for the Unschool of Curating #7 can be submitted until May 15th, 2025 at the form here. 

About the course leader
Raimundas Malašauskas has co-written an opera libretto (Cellar Door by Loris Gréaud, Palais de Tokyo, 2008), co-produced a television show (CAC TV, Vilnius, 2004–2006), served as an agent for dOCUMENTA (13), and released Paper Exhibition, a book of his selected writings (Sternberg Press, 2012). 

He co-curated the 9th Baltic Triennial of International Art (Vilnius, 2005), the 9th Mercosul Biennial (Porto Alegre, 2013), and the 9th Liverpool Biennial (2017). His childhood paintings were exhibited in a choreographic composition by Alix Eynaudi (2019).

His recent projects include trust & confusion, an eight-month-long live art exhibition at Tai Kwun Contemporary, Hong Kong (2021); 914, the Russian Pavilion at the 59th Venice Biennale (cancelled); Mars Returns, a 14-hour-long event at Mykolas Žilinskas Gallery, Kaunas, Lithuania; Mundus Mal-a-Showcase, a one-night event at Centre Wallonie-Bruxelles, Paris; and 2019, an exhibition at Grazer Kunstverein. Suzon, his second book of selected writings, was recently published by Verlag der Buchhandlung Walther und Franz König.

From 1994 to 2006, Malašauskas worked as a curator at the Contemporary Art Centre (CAC), Vilnius. Since then, he has curated numerous international projects including The Last Piece by John Fare (gb agency, Paris, 2007); Paper Exhibition(Artists Space, New York, 2009); Repetition Island (Centre Pompidou, 2010); Into the Belly of a Dove (Museo Tamayo, Mexico City, 2010); Satellite Series 4 (Jeu de Paume, Paris, 2011); oO, the Lithuanian and Cyprus pavilions at the 55th Venice Biennale (2013); Fusiform Gyrus (Lisson Gallery, London, 2013); Meeting Points 8 (Brussels, Beirut, Cairo, 2016–2017); On Campus (Monash University, Melbourne, 2017); and Rosalind Nashashibi, a solo exhibition at Kunstinstituut Melly (Rotterdam, 2018), among others.

His longest-running project, Hypnotic Show (ongoing since 2008, with Marcos Lutyens), is an exhibition that takes place through hypnosis. The Clifford Irving Show (2008–2010) explored notions of truth, life-writing, identity, and play over a two-year period.

Malašauskas has taught at California College of the Arts (San Francisco, 2008), Impulstanz Festival (Vienna, 2015), HEAD – Genève (2017–2019), and Sandberg Institute (Amsterdam, 2011–2015).

He was born in Vilnius, Lithuania.

About the organisers
Art Encounters Foundation is an independent cultural initiative, founded in 2015, oriented towards supporting the contemporary art scene in Romania. The Foundation’s activities follow three main directions: organizing the Art Encounters Biennial and the permanent exhibitions program, fostering education and audience development through public programs and developing a solid series of artistic and curatorial residencies. 

Cluj Cultural Centre is a non-governmental organisation for culture and sustainable development. The Centre has 130 members: cultural institutions and organisations, universities, civil society and business associations, local and county administration in Cluj. The Centre’s network also includes 40 schools in the Community of Schools, 32 European cities in the Culture Next network and more than 60 national and international partners. The Centre manages programmes to develop the cultural sector and increase the impact of culture in society, in the fields of education, health and well-being, urban development. 

For any inquiries about the program, please write to school.curating [​at​] gmail.com