Lithuania-Poland-Russia ENPI Cross-border Co-operation Programme 2007-2013
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The Meeting. Stolen Past

The Meeting. Stolen Past is an artistic exploration of utopian Soviet architecture as a memory landscape. The modern cityscape has been transformed in three ways: semantically, functionally and personally. The semantic layer involved renaming streets and buildings. The functional aspect meant changing their function and architectural structure. The personal transformation refers to the reinvention of a fictional past based on the new reality. Films and objects by Kristina Inčiūraitė and Cooltūristės uncover all three layers of the hidden past in different locations. Soviet modernist buildings are still haunted by the past, but old myths generate new stories and performances.

Curator Laima Kreivytė

The meeting. Stolen past


Czerwonka_Srodek_Trzy sny_lt Witoslaw Czerwonka “Three dreams”

For years, Witosław Czerwonka has followed the idea of  autonomous action, prioritised by almost all avant-  garde artists.The goal was to construct an artistic  gesture, in which the artist’s “own creative role would  be limited to a minimum”.The processual, automatic,  repetitive and impersonal attitude to external reality  was aimed at eliminating any additional non-pictorial  content from the work of art.As for artists defending the  autonomy of art (in the name of “lofty, universal  values”), reason prevented them from expressing  emotions, mind governed the instincts, while  imagination and intuitive actions were supplanted by a  predictable and presupposed game theory assumed by  the artist, a concept, the beauty of an abstract,  hypothetical model of a world belonging only to the domain of art.

Curator Jolanta Ciesielska

Witoslaw Czerwonka_Three dreams


01_russianred_02.10.2013.indd Yuri Vassiliev “Russian red”

Upon seeing Yury Vassiliev’s new works – an artist who is mature and famous, and getting to know the idea of his new large video installation in Gdansk entitled “Last next winter…” I recalled the phrase “landscapes of stagnation”. I believe here it’s equally important. This is not an evaluation. It’s not about the fact that stagnation generates the art of stagnation, and not about juxtaposing time as something obviously positive to the boredom of stagnation. I see stagnation or a special condition that implies no high virtues of time or eternity as a fact and characteristic feature of the Russian way of life. From one point of view or another, it’s always timeless in Russia. 

Ivan Chechot

Yuri Vassiliev. Russian Red


Made in Kaliningrad

“Wild Russian West”, exclave, “abroad”, Russian Koenigsberg – a strange territory that emerged as part of the USSR following World War II gives birth to a multitude of associations. The Kaliningrad region is a part of Russia that has no single common border with it. Well, this is only the beginning of a bunch of geographical and historical perplexities that produce a sequence of reflections: Kaliningrad – Koenigsberg, Russia – Prussia, Eastern European lands or the frontier West of Russia… It has settled historically that Russian Kaliningrad – the former Prussian Koenigsberg, has become a specific place – a phenomenon of the new postgeography, a point where ambitions of the two states collide. The Prussian heritage that was being extensively expulsed from a Soviet city; monstrous architecture that imposed itself over the Prussian pavestones; the transformation of the memory of the philosopher Immanuel Kant who lived in Koenigsberg into a grandiose narrative symbol of the Kaliningrad desire to inscribe itself into the European history.

Yulia Gnirenko, Irina Tchesnokova, Evgeny Umansky

Made in Kaliningrad



9000 km

Acatalogue of two exhibitions of the trans-Russian network project “9000 km”, which took place in The Centre for Contemporary Arts «Laznia» (Gdańsk) and in Klaipėda Culture Communication Centre in 2014. This art project is a cooperation of curators from cultural and educational national institutions from 8 Russian regions, the representatives of “Russian diasporas” in the countries of the former Soviet Union and abroad.In every region was formed a creative group that represented artistic or social “brand” of its “place”. 9000 km is a compilation of the regional projects, presenting locally specific “brand models” and “problem points” thatemerge only within specific context, but here connected in the unified intellectual space. The catalogue was published within theproject “Close Stranger”.

9000 km



Close Stranger

A catalogue of the exhibition “Close Stranger” which took place in Gdańsk, Kaliningrad and Klaipėda in 2014 within the project of the same name. “Close Stranger” is first of all a research project that tries to interpret and create a generalized image of the neighboring territories, time, people, cities, landscape, etc. During their 10-day residencies each artist had an opportunity to study the urban and mental space of a place that differs from his or her habitual environment, a place that has become an object of their artistic interest and social and cultural interaction.

Close Stranger


The СityinSitu. Public art in Gdańsk, Kaliningrad and Klaipėda

The catalogue contains the documentation of artistic interventions realised within the framework of the international project “Close Stranger: promotion of mutual understanding between the inhabitants of Gdańsk, Kaliningrad and Klaipėda by enabling exchange in the field of contemporary art and culture” which took place between 2013 and 2015. Their nature was diverse: from performances, site-specific installations, collaborative projects and billboards to a mobile app. The publication offers a detailed description of the multitude of artistic strategies used.

The СityinSitu. Public art in Gdańsk, Kaliningrad and Klaipėda



Art-guide “Close Stranger: Gdańsk — Kaliningrad — Klaipėda”

ElenaTsvetaeva, AgnieszkaWołodźko, IgnasKazakevičius (Eds.) (2015) Kaliningrad: Baltic Branch of the National Centre for Contemporary Arts. ISBN 978-5-94620-100-1. – 176 p.

In 2013, in the frame of the “Close Stranger”, contemporary artists and arts professionals from Lithuania, Poland and Russia went on an art expedition along the South-Eastern coast of the Baltic Sea. It included visits to historical and cultural sites important for the regional identity. As a result of the trip, artists, curators, writers, journalists, social researchers and art critics prepared a unique art-guide “Close Stranger: Gdańsk — Kaliningrad — Klaipėda”, which presents different views on what unites the three cities in one region. The art-guide is devised as a book for reading with stories of common and individual plots.