Adomas Palekas is an interdisciplinary artist with a background in music, sound art, electronic engineering and biotechnology. In his creative process, Adomas tends to combine artistic and scientific practices in search for new links between nature, sound and technology. Currently his main focus is on the sonification of chemical and biochemical processes with novel self-developed sensory devices. As an instrument designer, sound artist, composer, he worked on Goda Palekaitė‘s performances „Bakunin“ (Swamp pavilion, Venice arch. bienalle, 2018), „How to infuriate a historian“ (Hacktiris, Brussels, 2019), „Somnabulism“ (‘Sirenos’ theatre festival, 2020). Last year, Adomas attained a Bachelor degree in molecular biology and is currently working at the Vilnius University Biochemistry institute.

Salt

Salt is the most common form for most of the natural chemical elements to exist on earth and ions found in salts are vital for every living organism. Biological systems remarkably decipher various salts, picking ions one by one, to form complex multi-purpose cell machinery in digestive tract, leaves, mushroom hyphae or the human nervous system. The latter consists of billions of neurons, where every single one of them fulfills it’s function by utilizing Ions – Ions become our thoughts and our egos, our movements and all the sensory information we see, hear or feel. This thought bounds the complex with the most primitive - the elaborate organism with a grain of salt. The seemingly simple nature of salts poses a question, how complicated the human-salt interaction is? Can we find new means for it?

SALT is a sonic performance for a modular synthesizer and self-developed electrochemical interfaces. The aim of this work is to explore salt and ions as means for (un)subtle manipulation of complex systems.

Aiste is a digital artist and ex-architect based in Lithuania. Her work focuses on the decorative arts of architectonics, where she celebrates and employs the forms, shapes and textures found in the intricate and complex nature of things. Goal of her practice is to stimulate the arts of noticing and visualise the unimagined reality. She is a creator of Plantasia Lab, where she designs digital plants using the intuitive imagination of technology. Currently she is a PhD candidate at the Vilnius Academy of Arts working on the grammar of forest tectonics by lichens.

The Grammar of Lichens

Lichens are the sensors of the environment and their hyper-articulated surfaces are forming mutual relationships with others. Irregular, decentered, random, crooked, small, glitchy are cultural associations undervaluing the imperfections of these tiny creatures. I am fascinated by their diversity in polymorphic growth forms and patterns, but particularly interesting I find how their tentacular and multisensorial behaviour modes can inform our ways of sensing the surroundings and help to harmonize the missing intimacy between us and the environment. Lichens form my alphabet of design and by exploring their arts of joining we together will co-create and present the new grammar of a vegetative mind.

Eva Sjuve is a first resident at SODAS 2123 and she will develop her project in collaboration with architect Tomas Valentinaitis (Altlab) “Funghi Orchestra” which will premiere at ūmėdė festival.

Fungi Orchestra is a new work investigating behavior and consciousness in fungi using sound, and our entangled relation and co-existence between human, technology and living ecology. This work is a sound piece creating an orchestra between human and non-human using a custom built interface with pure data and machine learning. Evolutionary ecologist Monica Gagliano has shown that plants have memory and are capable of learning from their experiences through sense. This work is an ongoing inquiry in environments, ecologies, sonic art and data and aspects of intelligence.

Eva Sjuve is a Swedish artist working at the intersection between art, technology, and science. She is working with revealing underlying invisible structures in society and questions of complexity and ecology. She introduced the Urban Operating System concept into the academic discourse, a term deriving from her urban computing projects AudioTagger (2006) mapping urban sounds and Ghost Scraper (2009) sensing spectral urbanism. Her recent work Metopia (2014-2020) concerns air pollution, complex data, and ecology with portable interfaces for sensing pollutant matter using sonification and machine learning. Her work was awarded at the New York Exposition of short film and video in 1996 and CYNETart in 2001. She was commissioned from New Composers Series in New York to develop new technology for sound performance for the Performa 07 Biennale. Eva's curatorial work includes ORB, the first WiFi outdoor exhibition in Copenhagen in 2003, a distributed art exhibition including The Chemical Art Ensemble, Trebor Scholz, and Turbo Twins, followed by the show STRUKTUR in NYC, including Ilze Black, Wim Salke, and Jim Costanzo.

http://moolab.net

https://soundcloud.com/evasjuve

Her work has been exhibited at Kiasma Museum of Contemporary Art in Helsinki; Istanbul Biennale; CAEIT Experiments in Art, Information and Technology at CalArts; The Museum of Contemporary Arts in Chicago; City Exhibition Hall in Sydney, and at the National Museum of Fine Arts in Havana, Cuba amongst others. She has published more the 45 publications in transdisciplinary artistic research presented at the International Symposium for Electronic Arts, 08/14/15/16/19, Creativity & Cognition 09, Open Fields Conferences in Riga 16/17/19/20, the International Computer Music Conference 16/18, Hybrid City 2013 in Athens and MediaCity 2010 at Bauhaus University. In 2017 she was a Keynote speaker at Arts in the environment in Helsinki. She holds Master's degrees from the Interactive Telecommunications Program, New York University, and Art Theory from Lund University, Sweden. She studied electronic music composition at the Centre de Creation Musicale de Iannis Xenakis (CCMIX) and sound design at IRCAM in Paris.

SYNX is an experimental essay film and an installation consisting of video material, soundscapes, objects and invisible forces. Through an interview of a neuroscientist and a dancer, collage of animation, mirrors and underwater shots it explores synchronization between bodies during interaction, questioning the conception of individuals or other beings as definite and unattached.

Heta Bilaletdin works with sound, moving image, experimental music, installation, text and drawing, often with a planetary undertone. She is a collector of abandoned objects, trash and field sounds, constantly interested in building alternative spaces and microcosmoses, discos, gardens and areas for meaningful idle - trying to explore the complex fields of subjectivity, holy, magic, matter and resistance.
She is also looking for ways to challenge the everyday dualisms: mind/body, human/nature, us/them, me/you. Loops & spell-like repetition are an important core of her practice. At the moment Bilaletdin is based in Helsinki & finalizing MA studies in the department of Time & Space at the Academy of Fine Arts.

Lymmphe is a multidisciplinary duo of artists, Sofia Bordin and Ruta Vebraite, who recently graduated from UAL (London), from the Animation and Illustration programs, developing an experimental approach that engages with new media, such as computer-generated art, AR, VR and other digital formats. Our research is led by the current debates that question and analyse the Anthropocene, changing ecologies and the relationship between human and non-human agencies. Ultimately, our practice investigates new pathways for re-envisioning organic and artificial dimensions at the intersection of art and technology.

Entangled Assemblages (DATABASE)

A laptop is populated by fungi, organic matters and pixelated bodies. Their structures are decomposed, and their blood vessels are connected to one another. The laptop is their home, they move and circle around its screen. Every open window, tab, and icon is born and nurtured by this digital ecosystem, breathing and engulfing new particles. Human witnesses can observe this world living and growing, their eyes can follow the ever-changing patterns of these virtual hybrids. But, is this interaction even bound to happen? Can the human visitors take part in this transmission?

Marija is Lithuanian artist who experiments with visual media, analog photography, text, video, participation, network and internet art. She has Bhs of Software Engineering and recently graduated from Vilniaus Dailes Academy (MA, Photography and Media Arts) so she tries to combine two different areas - coding, technology with visuals and media arts.

For ūmėdė Marija presents her Magical Coincidence - a program where programming code dictates when and where magical coincidence-happening will be performed. Same code line is visible and reachable for all performance participants. Terminal screen dictates where to go and when. Follow instructions. Magical Coincidence is set to randomly say will the coincidence happen or not. If it will, the program gives you 30 mins to go and for 10 minutes to act and follow the instructions. It is an experiment with time, technology, magic, happenings and people going around. Following the code and finding yourself in a magic moment - is a way to escape from the routine, a way to believe in media being mixed with the code.

Laurynas Jukonis is a well known sound artist of Lithuanian dark electronic music scene. In 1995 he started post-industrial music project Girnų Giesmės, and from the 2014 he is performing with the project NULIS:S:S:S. He combines sharp rhythmic constructions with electronic or electroacoustic sounds. During the live performance the sound is generated and produced in real time, in order to open the different layers of listeners consciousness.

Abstract of the work

Falling is the study of a collapse. A 360 video, it proposes to build new narratives from the revival of animist thoughts. Consisting of nine ‘collapsology’ scenes created from Internet culture imaginaries, this artwork tries to interrogate a possible dismantling of the human practices of nature subjection and species classification through a search of eco-feminist postures. The project is based on the power of utopian and feminist anticipations, and the idea of short-circuiting collective imaginations from the Internet to develop new utopias and invent sustainable imaginations.

The work was supported by Casa de Velázquez | Hangar.org | Institut Français Barcelona.

Biogram

Sandrine Deumier is a pluridisciplinary artist working in the field of performance, poetry, and video art whose work investigates post-futurist themes through the development of aesthetic forms related to digital imaginaries. With her dual philosophical and artistic training, she has constructed a multifaceted poetic style focused on the issue of technological change and the performative place of poetry conceived through new technologies. Using material from the word as image and the image as word vector, she also works at the junction of video and sound poetry, considering them as sensitive devices to express a form of unconscious material itself. The process of writing and the mobile material of the image function as underlying meanings of reflux which refer to her real installations and audiovisual performances in collaboration with composers. Her work has been shown internationally in numerous festivals and exhibitions. Deumier holds a master’s degree in philosophy (2000) from the Toulouse II University, France; and DNAP from the National Institute of Fine Arts, Tarbes, France (2004)

Website : http://sandrinedeumier.com

Saulius Leonavičius (Vegan on Acid) is an interdisciplinary artist creating performances, installations and objects. His interests are liminal states of perception, rituals of transition and related traditional and scientific knowledge. Themes of health, cognition and activation of psychosomatic powers are linked to body endurance, disciplinary practices. The aspect of confrontation, conflict, intervention, transgression of the art field are also important. Artist recently graduated from Vilnius Academy of Arts (Art PhD), and lives in Lithuania.

„Vîdȗno valgîkla“ (en: Vydūnas' canteen) is a case of the temporary diet community. It is aimed to rethink, update and activate the diet offered by Vydūnas. The performance is based on artistic research that draws a connection between diet, performativity, aesthetic experience and lifestyle. Taking advantage of the symposium situation, a closed, temporary community will be established. In it, Vydūnas' lifestyle model will be considered not as romantic, idealized, but futuristic, utopian and critical to machines of consumerism. Vydūnas' ideas can be interpreted not only in the context of national liberation of the beginning of 20th century. Rather be seen differently, from the perspective of the contemporary. This way Vydūnas‘ vision of the future human would be a practical program that can be reinterpreted, deconstructed, and a new version of it invented. This temporary comunal circle will serve as retro-futuristic manifesto that transcends the normativity of the present, an attempt to activate alteration in everyday ritual of eating.

Tomas Valentinaitis works in the fields of architecture, design, sound art and writing. His practice is based on the global warming and public estrangement. He work in ”Alt Lab” experimental laboratory based in Cultural center SODAS 2123. There he experiment with the mycelium material color, structural, acoustical parameters, smell and sound. There together with other microbiologists and artists he develop professional laboratory and artistic skills. So far he managed to successfully synthesize mediums, clone and cultivate cultures, perform series of coloring and visual experiments, change aroma, develop new style of flower, ethereal plants and mycelium material. Currently he work together with interaction design and sound artist Eva Sjuve on developing her project 'Funghi Orchestra’. valentinaitis.lt

- Please remind me, why have you never told me how you feel? Have you remember I suggested you to use an alter-ego, so you could finally reveal your real story (my ego-ego always lurks in pseudo narratives, confusing and not suggesting the final story line).
- And in general, isn’t an alter-ego always does this kind of job?
- You see, again you’re avoiding a question by asking a question, and again you’re not telling your own story.
- I love to listen to my stories through your mouth.

The most intimate time passes in kitchens and beds (well maybe dreams as well). Time that is better left unsaid - the innocent lick of a spoon, lettuce leaf falls on a ground and has been picked, transformation of a time-tested recipe, the sharing of whims, of untold stories that are as if by the way, satisfying a physical need to eat or to hanker. Your story comes from here and returns back to here; expired. You are forced to wait, to guess when that climax - that brief experience and rupture of psychogeoraphic space will come. Here we unanimously agree to avoid any repetition.

The most intimate time passes in kitchens and beds (well maybe dreams as well). Time that is better left unsaid - the innocent lick of a spoon, lettuce leaf falls on a ground and has been picked, transformation of a time-tested recipe, the sharing of whims, of untold stories that are as if by the way, satisfying a physical need to eat or to hanker. Your story comes from here and returns back to here; expired. You are forced to wait, to guess when that climax - that brief experience and rupture of psychogeoraphic space will come. Here we unanimously agree to avoid any repetition.

Chef(or)mance - The duo of Agnė Jokšė and Kamilė Krasauskaitė, in search of dialogue in inadéquations, untold stories and dream kitchens, to overcome their dreamless experiences and welcome them into a space of sleek and undefined boundaries. The kitchen is a faithful backstage, which in Umede transforms into an exuviae of space and plot.

/How much do you need to see 'the kitchen' over all?
/Let's talk about our needs

Kamilė Krasauskaitė is an artist working with sourdough. Her practice evolves in different formats – installations, sculptures, publications or social events. Artists and sourdough obey the same principles of fermentation: the process does not provide a finished artefact, the installation is limited to the present moment, the events arise from each other and are constantly becoming and disappearing, and are therefore performative.

Agnė Jokšė trained skills in making fruit and sugar garnishes inspired by the cocktail culture, tasted and evaluated drinks and food, recommended and cleaned the tables, prepared lunches and dinners to various collectives and communities. In the end of the spring 2021 she discovered Kamilė. Understands the kitchen as a portal where time does not exist. Since 2013 studied art in Lithuania and abroad and, actually still does. Agnė is interested in the person and food relationship, the culture of hospitality. Also she likes to shoot on camera, write and perform.

* Max Frisch "My name be Gantenbein"

Vita Džekčioriūtė-Medeišienė is a Junior Scientific Researcher in the Department of Folk Narrative, the Institute of Lithuanian Literature and Folklore, Vilnius, Lithuania. With other scientists of the Institute, she is working on the serial fundamental paremiological publication “Lithuanian Proverbs and Proverbial Phrases”. Her main research interests are children’s mythical fears, children’s folklore, the functions and manifestations of mythical images in culture, ethnomedicine, the functions of proverbs in culture (especially situational sayings), biocultural diversity and its manifestations.

According to the founders of ethnomycology Valentina and Gordon Wasson, it is possible to discern the mycophobic and mycophilic countries. Lithuania belongs to the mycophilic ones. In these countries, mushrooms and mushroom picking are important both economically and culturally.
The lecture focuses on the mythical notion of mushrooms in Lithuanian culture and employs the mythical explanations of the origins of mushrooms, the perception of mushrooms as mythical beings, the mythical level and the ritual aspects of the mushroom picking to elucidate it.
In Lithuania, the mushroom picking is not only a means of enriching the food provisions or securing some income. This is a meaningful phenomenon accompanied by ritual and magical actions and representing the traditional Lithuanian mythical worldview.

Jan Georg Glöckner is an artist and researcher. He studied Visual Communication, Fine Art and Media Art/Design at the Art and Designschool Kassel, Estonian Art Academy Tallinn and the Bauhaus-University Weimar. Since 2016 his research interests are collaborations between fungi and hominidae. He is working on a framework that allows for research on non-humans and humans without violating any of the involved entities. He is currently conducting his PhD-research in Artistic Biotechnology at the Vilnius Academy of Arts. jan-gloeckner.com

At ūmėdė I will make a culinary gesture towards the curious tasters and present a range of experiments created by the research group Invisible Friends. The group consists of Fungi and Bacteria, working together with the three humans, Silke keine Kalvelage, Hanes Sturzenegger and me, on the meadows of the Vogelherd in Switzerland. In order to build bodily knowledge of how the outcomes of collaborations in the group can be judged, we are exploring agents and techniques from mainly the East-Asian repository of collaborations. You are invited to follow us deep down the rabbithole with your taste-buds and noses.

Musician and sporadically writer living in Warsaw, draws inspiration from amateur insight into cognitive linguistics, primates’ social structures, diverse traditions of Eastern Europe, and post-Tofflerian awareness of human civilization. Being a jazz musician at the beginning, he still remains influenced by the philosophy of jazz music – in which strong personalities are as much expected as is a deep sense of interconnection, flexibility is a strength, and the difference is a powerbank for creation, not a tool of division.

MUSIC FOR PERFORMERS NOT MUSICALLY TALENTED

Musical gift - is there such a thing at all? Maybe musicality is just embodied, belonging to everyone? What if the rest is only social or cultural barricade? During this workshop - that refers very loosely to the main ideas of Leonard Bernstein’s legendary „The Unanswered Question” lectures - we will try to investigate these subjects by performing a meditative musical piece written especially for performers who perceive themselves as not musically talented and/or not musically sensitive at all. We do welcome any of you.

Miglė is an artist whose practice is based on phenomenological research, aiming to explore the human perception. Drawing emphasis on the process artist creates installations, objects and performances which, varying from almost unnoticeable to radically intrusive, challenge the viewers cognition and require the effort to be experienced. In such practice the human body is explored as an entity, inseparable from its environment, a space without strict borders, a manifestation of consciousness.
Miglė has recently graduated from Vilnius Arts Academy (BA) photography and media art, is currently living in Vilnius and leading movement/writing workshops.

Tension

30 minute duration performance, comprised from a moving body and an analog system of light to sound conversion. “Tension” is a journey through the unconscious where the human body becomes an instrument, reacting and simultaneously altering the conditions of its environment. Tension of the situation cramps the body, fills the space and traveling by waves of sound invades every observer. This way it leaves no place where the action happens “outside”, it dissolves the borders and immerses all the present bodies into the related state of mind. Therefore, it raises a question, how could the shift of individual attention alter the whole setting?

Vitalij Červiakov sometimes experiments with field recordings, sounds and music in the evenings at his studio.

This time he and his friends (Emilia Milieu, Tata Frenkel, Dovydas Bou, etc.) are inviting you to join this imaginary walk.

Abstract of work
Alien and familiar, eerie and yet alluring—from the morphing form of a rock we recognise face-like features, an ephemeral glimpse of the human in the nonhuman. Traversing the layers of terrestrial kinship between geology, human, and technology, Anthropṏstones seeks to ignite an awareness of affinity towards our nonhuman surroundings, through both the recognition of uncanny self and sentiment of strange care for the more-than-human.
The machine learning video-installation uses a generative adversarial network (GAN) to create digital ‘rock-faces’ from a dataset of a thousand+ personally found and documented rocks. Every stone collected evokes pareidolia—the recognition of facial features in non-faces, which occurs as both a psychological phenomenon in humans and a tendency in visual machine learning. If we recognise a semblance in the stone—familiar yet different—can we be urged to reconcile our interrelations with the planet? In the age of the anthropocene—an era defined by humans imprint on Earth, what role can machine learning play in reconfiguring our affinity with the geological?

Biogram
Rose Leahy and Greg Orrom Swan are artists and experience designers practicing in the nebulous realm of more-than-human artistic research. Drawing on their overlapping ecologies of interest their work spans biological, geological, and technological phenomena. With a systems thinking approach they examine the nuanced entanglements between human and nonhuman entities — from the molecular to the material, to the machinic. They communicate the messy, beautiful, terrestrial complexity through tangible experience and material narratives. Previous exhibitions include MoMA, London Design Festival, and CPH:DOX.

1-23 tribute to a drone
2-23 sacrifice for a noise
Unstable night composition of two parts dedicated to the sound of the city, its audible and hidden trembling, and its heart electricity.

Asami Kiuchi (JP) has developed a line of interactive g a r m e n t s , w h i c h playfully explore interpersonal communication through the behavior of human sense and technological system. Her interest is to experiment new dimension of sense with technology as a medium of expression, and to translate between cultural abrasion and philosophical association. http://www.asamikiuchi.com

So Oishi (JP) is a Dutch-based electronic music composer, performer, sound artist, and software developer from Tokyo, Japan. His focus as an artist includes algorithmic composition, multi-channel spatial music, field recording, and sound installation using sensors. He is also active as an engineer and writing sound synthesis / composition programs. http://sooishi.com/

Void Un-reversed

Concept and Design : Asami Kiuchi
Production: Janne van Wezel / Charlotte de Groot (SUMMA College)
Sound and System : So Oishi

"Void Un-reversed" is a mixed media performance addressing this question. Our hypothesis is that “self” exists outside of our body though many people tend to think that “self” is confined to one’ s body. Preconception of “self” can be revised by communicating with “space”, which is the countering concept of “body”, and by experiencing the node of the dualistic contexts, “virtual” and “real”, through acoustic and electronic sounds. This piece is composed of a performer (dancer), sound, a garment, and sensors. The performer wears multiple wireless sensors with accelerometer and the sensor system converts performer’s movements into sound. In addition, bodily movements are translated into spatial movements through the transformable garment.

Denisas Kolomyckis has studied ballet at M.K.Čiurlionis Art School. After graduation, the artist actively participating in Lithuanian cultural scene and presenting his interdisciplinary projects abroad. In the past few years Denisas has worked with photography, theatre, painting and installations on the human rights topics.

Denisas artworks were presented at Contemporary Art Centre in Vilnius, Serpentine gallery in London, Microscope gallery in New York and ect. His project Ona, Ona pakelk sijoną were presented in The Guardian and many other publications. For a few years the artist was working with iconic independent cinema master Jonas Mekas in New York

The enchanting Earth is too-often made inhospitable to those marked as transgender. To survive we xenomogrify ourselves through social and biological technologies, altering our surfaces, our viscera, our molecular balances. None of us have been to space even if we possess somatic knowledges of deep bodily transformations, necessary experiences for extraterrestrial environments.

TX-1 launches bits of my hormone replacement medications, marking the first-known time that elements of the transgender experience orbit the earth. TX-1 includes a fragment of my spironolactone pill, a slice of my estradiol patch, and a miniature handmade paper sculpture, included to gesture towards the absent-yet-present xenoentities of the cosmos. A symbolic exodus to an orbit high above, the eventual return of TX-1 to Earth is also a sign of resilience, of not being disposed, of coming back to thrive once again.

Adriana Knouf, Ph.D. (she/her/hers, sie/hir/hirs) works as a xenologist, as an artist-scientist-writer-designer-engineer. She engages with topics such as biological art space art, satellites, radio transmission, non-human encounters, drone flight, queer and trans futurities, machine learning, the voice, and papermaking. She is the Founding Facilitator of the tranxxeno lab, a nomadic artistic research laboratory that promotes entanglements amongst entities trans and xeno. Adriana is also an Assistant Professor of Art + Design at Northeastern University, Boston, MA, USA.

To Be Part (of the Scene), or Where Do Participatory Practices Participate

Dr. Lina Michelkevičė is an art and culture researcher with a background in philology and semiotics, currently working in the Institute of Art Research at the Vilnius Academy of Arts. In her lecture she will present her recent book „Būti dalimi“ / „To Be Part“ (Vilniaus Academy of Arts Press, 2021) on participatory practices in contemporary art, looking for an answer why and how these practices manage to be part of both the art and the social fields. English summary here

Intangible, invisible and always very unique human instrument - the voice - flourish in the world of objects and symbols, created by two artists. The subtle verbal and instrumental expression metamorphosis, rhythm and vibrations layered with visual materials are born and creates the parallel of the real world. Along with the visuals, the music gets in the material form, which leads and misleads. The extension of the body through the voice creates tension in the processes of sound embodiment.

Ieva Tarejeva (1988 m.) studied at Vilnius Art Academy at the Monumental painting departament. While studying the artist were interested in body and objectivity topics, researched the aesthetics of the body and its materials.Important aspect of Ieva artworks is performative practises. In the performances the artist uses various material elements, costumes, texts and sound recordings. The artist works with her body and uncovers the existential dilemmas as well as inevitable mortality problems. Ieva Tarejeva performativity is influenced by the Japanese movement „Butoh“ and Noguchi Taiso practises, which she learned from Imre Thornmann, Sakurako San, Yumiko Yoshioka.

Jūra Elena Šedyte (b. 1995) is a composer-performer and improviser, currently living and working in Vilnius, Lithuania. The classical-contemporary composition studies at the Lithuanian Academy of Music and Theatre and Erasmus exchange programme at the Vienna University of Music and Performing Arts, Austria have led Ju ra to the field of electroacoustic music. She later gradually moved to works based on improvisation and performative elements. Subsequently, she chose to study Master's in Music Creation at the Rhythmic Music Conservatory Copenhagen, Denmark. By combining electroacoustic sound transformations and interaction of voice and electronics with topics of human psychology, social behaviour and self-reflection, she invites listeners to become a part of her performances and experiments. In recent years, she has organised several solo performances such as No Room will be Empty if Your Brain is Full (2019), Dinosaurs for Ana (2019), Ready When You Are (2020) as well as participated in various artistic collaborations. In 2019, she co-authored The Filler, sound experience in the former Vilnius ghetto produced by well-known Lithuanian production house of new music theatre Operomanija. In 2020, she worked with Greta Štiormer and Aiste Marija Štankevičiūtė on Jaan Kruusvall’s play The Ringing of the Plains in Lithuanian National Drama Theatre, creating music and performing. In 2017, her piece Nice to Meet You has been released in CD compilation Far Away, But Ever Closer, presenting new works by the new generation of Lithuanian composers. In 2021, the other piece KNUS. Music for Headphones was included into another compilation Between Music and Rituals (both CDs released by Music Information Centre Lithuania). Jūra’s works are found in programs of local and international contemporary music festivals and events.

'The Secret Book of Lichens' by Kristupas Sabolius, illustrations: Aistė Ambrazevičiūtė, design: Goda Budvytytė & 'The Forest and the Little One' by Monika Kalinauskaitė, illustrations: Kornelija Žalpytė, design: Goda Budvytytė, are children's books published by Kirvarpa, a publishing house initiated as part of the Neringa Forest Architecture project at Nida Art Colony of Vilnius Academy of Arts. There will be an opportunity to meet the authors and publishers and acquire the newly printed books during the events at 12.00-15.00, Saturday, 19 June.

Vera van de Seyp is a graphic designer and creative coder. She is interested in artificial intelligence, languages and finding systems in chaos. Based in Amsterdam, Vera works as a designer and artist, teaches at ArtEZ, Arnhem and the Royal Academy of Arts, The Hague, and gives workshops and lectures across the world.

The exhibition presents the latest works of second and third year students of the Department of Photography, Animation and Media Arts of Vilnius Academy of Arts.

Participants:
Ieva Akelaitytė, Gytis Baranauskas, Žilvinas Baranauskas, Evelina Bernatonytė, Bernadeta Brazdžionytė, Žygimantas Bėrontas, Pijus Chraptavičius, Emilija Dirsytė, Greta Galiauskaitė, Liucija Teodora Mikučionytė, Akvilė Murauskaitė, Dagnė Petkevičiūtė, Ainė Petkūnaitė, Eva Rodz, Vilija Simutytė, Jokūbas Vaicekauskas.

Using a wide range of techniques and technology: video, 2D and 3D animation, photogrammetry, artificial intelligence, sound, etc. young artists experiment with and explore their being and surroundings, react to today's issues or simply pour their thoughts out and allow them to be for the viewer to experience.