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Deimantas Narkevicius
Ausgeträumt, 2010, 6mins, 35mm / DVD


Deimantas Narkevicius
Getting a lost tune

a cura di Marco Scotini

15 dicembre 2010 - 18 febbraio 2011

Giovedì 10 febbraio 2011, ore 18.00, presso NABA (via Darwin, 20 Milano), incontro con Deimantas Narkevicius per il ciclo di conferenze "Politiche della Memoria #3".

“Ogni monumento ha un intrigante passato aperto a differenti interpretazioni. Un cambiamento del clima ideologico è sufficiente per rivelare la manipolazione o semplicemente la creatività immaginativa che sta dietro il fatto storico che esso immortala." (Deimantas Narkevicius).

 

for english text scroll down

Giunta al suo terzo appuntamento della nuova stagione espositiva con artisti della ex Europa dell’Est, la Galleria Artra inaugura ora la prima personale italiana di uno dei suoi maggiori rappresentanti a livello internazionale. La mostra Getting a Lost Tune di Deimantas Narkevicius, che apre al pubblico martedì 15 dicembre, è la prima ampia retrospettiva che viene dedicata al noto artista lituano in Italia. Dopo aver esposto nei maggiori musei internazionali e alle principali biennali di tutto il mondo - da Venezia a São Paulo - Deimantas Narkevicius (Utena, 1964) viene finalmente presentato al pubblico italiano.  

Assieme ad altre cinque proiezioni monumentali concepite da Deimantas Narkevicius lungo il corso degli ultimi dieci anni e ormai ritenute unanimamente dei capolavori come Once in the XX Century del 2004, nella mostra milanese viene presentato il suo ultimo lavoro Ausgeträumt (2010). Ed è questo nuovo lavoro che dà origine, anche se indirettamente, al titolo generale dell’esposizione, Getting a Lost Tune. Soggetto del film è infatti una band di cinque teenagers alle prime armi, che iniziano la loro avventura musicale a Vilnius con l’aspettativa di un futuro successo che non sappiamo quando e se mai arriverà.  

La “melodia persa”, tuttavia, a cui fa riferimento il titolo non è tanto un motivo musicale quanto, e più ampiamente, l’innocenza o la condizione di ingenuità: quello stato larvale o indeterminato in cui ogni cosa è ancora possibile prima di trasformarsi in esperienza e storia. E proprio il rapporto tra innocenza e Storia, con la S maiuscola, è al centro di tutto il lavoro di Narkevicius: e la storia coincide qui con quella del passato Socialista, ma il termine potrebbe essere esteso al più generale fallimento dell’utopia modernista. Il tentativo di riportare ad un grado zero le occasioni perdute della storia è stata la cifra forte dell’opera dell’artista lituano. E la “ripetizione”, attraverso materiali d’archivio e found footage, ne è stato il metodo privilegiato.

La parola “Ausgeträumt” è un termine tedesco intraducibile che indica il momento prima del risveglio. Dunque come ha affermato Deimantas Narkevicius in un intervista con Marco Scotini: “si tratta dello stato tra il sogno e la realtà. Uno stato di limbo privo di esperienza, tipico dei giovani, che è desiderabile quando uno si avvia a creare qualcosa da zero, senza voler ripetere neanche la più piccola delle precedenti scoperte. Ciò somiglia al montaggio di un film che non presuppone necessariamente una linea narrativa prefissata. La struttura deve essere ravviata ogni volta di nuovo. E lo scenario ideale dovrebbe essere quello di cominciare da una pagina vuota, senza sentimenti e esperienze inutili…Questo sarebbe desiderabile. Ma, purtroppo, è ancora un’utopia”.

Come non  richiamare qui il tempo rovesciato di Once in the XX Century (2004) per cui un busto di Lenin, contrariamente ai fatti, viene re-installato sul suo piedistallo? Oppure, come non ricordare i volti felici dei personaggi anonimi delle foto in bianco e nero di Disappearance of a Tribe (2005), la simulazione del lancio missilistico sovietico in The Dud Effect (2008) o il popolo operativo di Into the Unknown (2009)? Tutte opere, tra l’altro, presenti nella mostra milanese. Non sappiamo se tutto questo è vero o falso, se sia accaduto o sia appartenuto ad un immaginario di propaganda. Narkevicius crea sempre una “zona d’indecidibilità” tra il reale e il possibile sia nella forma che nel contenuto. Non è infatti certo se ciò che vediamo sia una fiction o un documentario oppure se il passato si sia definitivamente compiuto, una volta per tutte. Solo così è possibile restituire a ciò che è stato la sua possibilità, non trasformare il passato in Monumento. In questo senso la memoria in Narkevicius non è mai un dato obiettivo ma è sempre un atto politico.

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Galleria ARTRA has come to the third appointment in its new exhibition season of artists from former Eastern-bloc Europe, and is presenting the first Italian solo show of one of its major internationally known representatives. Deimantas Narkevicius' exhibition, Getting a Lost Tune, which opens to the public on Tuesday, 15 December, is the first comprehensive retrospective in Italy to be dedicated to the famous Lithuanian artist. After exhibiting in major international museums and the principal biennials around the world – from Venice to São Paulo – Deimantas Narkevicius (Utena, 1964) will at last be introduced to the Italian public.

Together with five other monumental projections that Deimantas Narkevicius has conceived over the course of the last ten years – all unanimously considered masterpieces; for example, Once in the XX Century from 2004 – the Milan exhibition will also contain his latest work Ausgeträumt (2010). Indeed it is this new work that has led, albeit indirectly, to the overall title of the exhibition, Getting A Lost Tune. The subject of the film is, in fact, a band of five teenagers just starting out on their musical adventure in Vilnius, and hoping for future success, the outcome of which we do not know.

However, the 'lost tune' the title refers to is not so much a musical motif as the more general condition of innocence or naiveté: the larval or indeterminate stage when everything is still possible before becoming experience and history. It is the relationship between innocence and History with a capital H that is at the heart of all of Narkevicius' work: here history coincides with that of the Socialist past, but the term could be extended to the more general failure of modernist utopia. The attempt to return history's lost opportunities to level zero has been the major theme in the Lithuanian artist's work. And 'repetition', in the form of archival material and found footage, has been the preferred method.

The word 'Ausgeträumt' is an untranslatable German word that means the moment before waking. As Deimantas Narkevicius said in an interview with Marco Scotini: 'it is the state between dream and reality. A state of limbo, free from experience and typical of young people, one that is desirable when someone is going to create something from scratch without repeating even the smallest of earlier discoveries. It resembles a film montage that does not necessarily presuppose a consistent narrative line. The structure has to be rearranged again and again. And the ideal scenario would be to start from a blank page, without unnecessary sentiments and experiences... This would be desirable. Yet, regrettably, it is a utopia.'

It is possible not to recall the inverted time in Once in the XX Century (2004) in which, contrary to the facts, a bust of Lenin is re-installed on its pedestal? And how can we forget the happy faces of the anonymous characters in the black and white photos of Disappearance of a Tribe (2005), or the simulation of a Soviet missile launch in The Dud Effect (2008), or again, the working people in Into the Unknown (2009)? All these works are, among others, included in the Milan show. We do not know whether all this is true or false, whether it really happened or was part of fictional propaganda. Narkevicius always creates an 'unascertainable zone' between the real and the possible, both in form and in content. In fact, it is not certain if what we see is fiction or a documentary, or if the past is definitely over, once and for all. Only in this way is it possible to give back to the past what was once its possibility, and not transform it into a Monument. In this sense, memory for Narkevicius is never an objective fact but always a political act.

leggi tutto ...

Deimantas Narkevicius
Born in 1964 Utena, Lithuania
Works and lives in Vilnius.


Solo Shows

2010
'Getting a Lost Tune', Artra, Milan
Darkroom Series: Deimantas Narkevicius, Turku Art Museum, Turku
'The Unanimous Life', Kunsthallen Brandts, Odense

2009
Deimantas Narkevicius, gb agency, Paris
Deimantas Narkevicius, BFI Southbank Gallery, London
"The Unanimous Life", Kunsthalle Bern, Bern
Deimantas Narkevicius, Deux sur trois, MAMCO, Geneva
“The Unanimous Life”, Van Abbemuseum, Eindhoven
"The Dud Effect", Mala Galerija (Museum of Modern Art), Ljubljana

2008
“The Unanimous Life”, Meseo Nacional Centro de Arte Reina Sofia, Madrid
“The Dud Effect”, Barbara Weiss Gallery, Berlin
“The Dud Effect”, Jan Mot Gallery, Brussels
“Genius Seculi”, The Center of Contemporary Art, Thessaloniki

2007
"The Role of a Lifetime", Index, Stockholm
‘History continued...’, Mücsarnok Kunsthalle, Budapest
”Among the things we touched”, Secession, Vienna
‘Revisiting Solaris ‘, DAAD Galerie, Berlin

2006
"This is not what you see, this is what you hear", Bunkier Sztuki, Kraków.
“This is not what you see”, Galerie für Zeitgenössische Kunst, Leipzig
"Instead of Today", GB Agency, Paris."Once in the XX Century", Arnolfini, Bristol.

2005
'Once in the XX Century’, Akademie der Künste, Berlin.

2004
‘An Exhibition of two Sculptures’, Contemporary Art Centre, Vilnius
‘The Role of a Lifetime’, Gallery Foksal, Warsaw.

2003
"Either true or fictitious", Frac des Pays de la Loire, Nantes.
Galerie Jan Mot, Bruxelles.

2002
‘Deimantas Narkevicius project’, Münchner Kunstverein, Munich. &: gb agency, Paris.

2001
Galerie Jan Mot, Bruxelles. The Lithuanian Pavillion , the 49th Venice Biennial, Venice.
One day film and video screenings, Moderna Museet, Stockholm.
‘8 x 16 x 35’, Contemporary Art Centre, Vilnius.

 

Goup Shows

2010    
'There's Always a Cup of Sea to Sail In', The 29th Sao Paulo Biennial, Sao Paulo
'Trust, Madiacity Seoul 2010', Seoul Museum of Art, Seoul
'Postmonument', XIV Biennale Internazionale di Scultura di Carrara, Carrara
'Over the Counter', Mucsarnok Kunsthalle, Budapest
'Das  im Entschwinden Erfasste: Videokunst im Museum Folkwang, Museum Folkwang, Essen
'The Science of Imagination', Ludwig Museum, Budapest
LUX Commissions presentation, Tate Modern, London
'Les Promesses du Passe', Centre Pompidou, Paris
'The Boy Who Cried Wolf (Lefty Loosey, Righty Tighty), gb agency, Paris
'Building Memory', Museum of Art, Lodz
'Into the Unknown', Ludlow 38, Goethe Institut, New York
The Future under Communism, Star City, Nottingham Contemporary, Nottingham
The Past is a Foreign Country, Centre of Contemporary Art "Znaki Czasu", Torun

2009
Building Memory: four films, Contemporary Art Center, Vilnius    
3xYES, latest acquisitions to collection, Museum of Modern Art Warsaw, Warsaw
T-Tris, BPS 22, Charleroi
Urban Stories, The X Baltic Triennial of International Art, CAC, Vilnius
"What Keeps Mankind Alive?", The 11th International Istanbul Biennial, Istanbul
XVI. Rohkunstbau: ATLANTIS I, Hidden Histories - New Identities, Schloss Marquardt, Potsdam
Les visages du mal, BWA Contemporary Art Gallery, Katowice
El Pasado En El Presente Y Lo Propio En Lo Ajeno, LABoral Centre for Art and creative Industries, Gijón (Asturias), Spain
Un sur trois, Mamco, Genève
Time As Matter, MACBA Collection, New Acquisitions, MACBA, Barcelona,
Monument To Transformation 1989 - 2009, City Gallery, Prague
Pierre Bismuth, Mario Garcia Torres, Annette Kelm, Deimantas Narkevicius. Jan Mot, Brussels
At Your Service, David Roberts Art Foundation, London.
Les Frontières invisibles, Lille3000, Tri postal, Lille
Videos Europa, Le Fresnoy, Tourcoing

2008
The Green Room, Reconsidering the Documentary and Contemporary Art, Bard College, New York
Friction and Conflict, Kalmar Konstmuseum
Modern Ruin, Gallery of Modern Art, Brisbain
You are my mirror 2, Frac Lorraine, Metz
The Vincent Award 2008, Stedelijk Museum,Amsterdam
Group Show, Kadist Art Foundation,Paris
Wanas 2008: Loss, The Wanas Foundation,Knislinge,Sweden
Hot Docs, Canadian International Documentary Festival, Toronto
The 46th Ann Arbor Film Festival. Michigan Screenings, Pro Arte Foundation, March 29-30, Helsinki Art Sheffield 08: Yes, No & Other Options Art, Sheffield Fusion/Confusion, Museum Folkwang, Essen

2007
Cine y Casi Cine 2007, Museo Nacional Centro de Arte Reina Sofia, Madrid
Du machinique et du vivant, la réserve, Pacy sur Eure Macba im Frankfurter Kunstverein, Frankfurt am Main    
Skulptur Projekte Münster 07, Münster  
Future in the Past, Slovenian Pavilion, Venice Biennial, 52nd International Art Exhibition
Prague Biennale 3, Der Prozess, Collective Memory and Social History, Prague
53rd International Short Film Festival  Oberhausen, Oberhausen ‘So Close So Far Away’, Crac Alsace, Altkirch
International Film Festival Rotterdam, Rotertterdam
‘Sex Market’, Tallinn Art Hall, Tallinn

2006
Prospectif cinéma, Centre Pompidou, Paris
101,3 KM: competition and cooperation, A Kaunas and Vilnius artists’ exhibition, CAC Vilnius, Kaunas Picture gallery, Gallery ‘Meno Parkas’.  
‘We all laughed at Christopher Columbus’, Platform, Istambul
The 6th Gwangju Biennale 2006, The Last Chapter-Trace Route: Remapping Global Cities, Gwangju
7th Werkleitz Biennal “Happy Believers” Volkspark Halle (Saale)
"Un Vision du Monde", La Collection Video de Jean-Conrad et Isabelle Lemaitre, Maison Rouge, Paris.
Plug In", Van Abbemuseum, Eindhoven

2005
"Black Market Worlds", The 9th Baltic Triennial of International Art, CAC, Vilnius.
"Delicious", Sint-Truiden, Belgium.
‘Memoires vives’, Plattform, Berlin
‘We are the artists’, Prague Biennial, National Gallery, Prague
In the frame of Re : Modern, Austrian Film Museum, Vienna.
‘The Invisible Insurrection of Million Minds’, Sala Rekalde, Bilbao.

2004
‘Europa’, Film and Video from the centre of Europe, Tate Modern, London.
‘Time and Again’, Stedelijk Museum, Amsterdam.
“Instant Europe”, Villa Manin, Centre for Contemporary Art, Udine, Italy.
„The Future is not what it used to be“, Galerie für Zeitgenössische Kunst, Leipzig.?Busan Biennial 2004,
"Hang in There", Metropolitan Art Museum, Busan, South Korea.45th October Salon/Continental Brekfast, Belgrade, Serbia and Montenegro.
”Brainstorming, topographie de la morale”, Centre d'Art Contemporain Ile de Vassivière, Limousin,
Two Films : Anna Klamroth & Deimantas Narkevicius, Dundee Contemporary Arts, Dundee.
‘Microbiografen’, Rooseum, Malmo.
‘Legend coming true’, Musee d’art et d’histoire du judaisme, Paris.?33rd International Film Festival, Rotterdam.

2003
‘Art and Sacred Places’, St. Peter’s church, Brighton
‘Deplacements’, Musée d’Art moderne de la Ville de Paris, Paris.
‘Now what?’ Dreaming a better World in Six Parts, BAK, Utrecht.
‘The Viewer's Dictatorship’, the 50th Venice Biennial, Venice.     
49th International Film Festival, Oberhausen.
Aidas Bareikis / Deimantas Narkevicius, National Gallery of Contemporary Art Zacheta, Warsaw.
32th International Film Festival, Rotterdam.

2002
Museum in Progress, Galleria Continua, San Gimignano.
Deimantas Narkevicius / Mindaugas Simkus / Peter Watkins. Kunstverein Munich, Munich.
The 8th Baltic Triennial of International Art ‘Centre of Attraction’,Old Printing House, Vilnius.
‘What is cinema’, 31st International Festival, Rotterdam.    
‘Nuits blanches’, Screening, Plus qu’une image, Paris.
‘Parc Humà, una exposicio de criatures globals’, Institut de Cultura Palau de la Virreina, Barcelone.

2001
‘Ausgeträumt...’, Secession, Vienna.
‘Wonder world’, Kleines Helmhaus, Zürich.
‘Oh Europe’, The Netherland Foto Instituut, Rotterdam.
‘Affinités Narratives’, & :  gb agency,  Paris.
‘Egzotika’, Contemporary Art Center, Vilnius.

1999
‘After the wall’, Moderna Museet, Stockholm.
‘Lithuanian Art 1989-1999: the ten years’, Contemporary Art Centre, Vilnius.
‘Signs of life’, Melbourne Intertional Biennial, Melbourne.
‘Near and Elsewhere’, The Photographers’ Gallery, London.

1998
‘Manifesta 2’, Biennale Européenne d’Art Contemporain, Luxembourg.
‘Cool  Places’, 7ème Triennial of Contemporary Baltic Art, Contemporary Art Centre, Vilnius.

 

 

 

15 dicembre - 05 marzo 2011

Disappearance of a tribe (2005), Film video beta cam SP transferred on to DVD Black and white, Sound (ambient) 10 min
Disappearance of a tribe (2005), Film video beta cam SP transferred on to DVD Black and white, Sound (ambient) 10 min
Into the Unknown (2009) Found footage (35mm film) transferred onto HD Video Colour, sound (English and German spoken),19 45'' t
Into the Unknown (2009), Found footage (35mm film) transferred onto HD Video, colour, sound (English and German spoken), 19 45''
Installation view, Once in the XX Century (2004)
Installation view, dx: Once in the XX Century (2001), sx: The Dub Effect (2008)

No documents found.