1994 metai: galerija „Langas“, Vilnius.
1998 metai: galerija „M“, instaliacija „Sounded Room“, Molėtai.
2006 metai: Vilniaus Rotušė, paroda ,,Nepaiškinama trauka“.
2009 metai: Pamėnkalnio galerija, paroda „Paskutinė nanoversija“ Vilnius
2011 metai: galerija„ Meno parkas“, paroda“RGB liuminoforai +“, Kaunas,
1992 metai: Tarptautinis video meno festivalis, ŠMC, Vilnius.
1993 metai: „Laidojimo būdai“, ŠMC, Vilnius; „Tarp skulptūros ir objekto – lietuviškai“, ŠMC, Vilnius.
1994 metai: „Pornografija“, ŠMC, Vilnius; „Vampyro anatomija“, galerija „Akademija“, Vilnius.
1995 metai: „Mums ir visiems“, Vokiečių vaistinė, Vilnius; „Kūno dimensija“, „Meno lyga“, Vilnius (organizatorius ir kuratorius);
1997 metai: „Ground Control“, Beaconsfield, Great Britain; „Dimensija 0“, ŠMC, Vilnius (organizatorius ir kuratorius);
1999 metai: „Lietuvos dailė 1989 –1999“, ŠMC, Vilnius; „Butas 99“, autorių dirbtuvės, Vilnius;
2006 metai: „Dimensija 1“, ŠMC, Vilnius (organizatorius ir kuratorius)
2007 metai: 13 – oji Vilniaus tapybos trienalė „Dialogai“, ŠMC, Vilnius;
2009 metai: paroda II-oji Lietuvos kvadrienalė, Litexpo rūmai, Vilnius;
2011 metai: paroda „ArtVilnius-2011“ Litexpo rūmai, Vilnius
Linas Liandzbergis is an untypical case in the Lithuanian art context. The painter who has been working in the sphere of performance and video for over a decade is painting intensely again. This phenomenon constantly commands attention and raises questions: how can forms of action-based art influence traditional art spheres, and how much do the definitions of modern and postmodern art change? Linas Liandzbergis’s painting is rational, logical, constructive, as if predetermined by some action plan. The subject matter is diverse, inspired by interpretation of landscape and musical themes and pop culture motifs. Vivid, sonorous, often decorative colour palette prevails, organically complemented by pasted objects of expressive forms and colours – small children’s toys, Lego bricks or artificial flowers. The sensual nature of painting appears to be encoded in computer-style image inserts. Liandzbergis’s paintings become a charge of intellect rather than emotions, through which comes a healthy ironic view of the world. I think that different forms of inner emancipation have had a positive impact on the artist’s painting work, which has expanded the limits of Lithuanian expressive colourism from manifestations of Pop Art to conceptual painting. The paintings’ internal drama is usually concentrated in colour spots, there are no explicit emotional outbursts here. Therefore we are dealing with selection of states and univeral rational capturing of the latter, rather than impressions or existential torments. This is intriguing and compels the viewer to engage in intellectual guesswork, while the balanced rhythm of sonorous tones induces a calm and positive disposition.
Rita Mikučionytė
Peter Doig, Neo Rauch, Gary Hume, Tiziano Vecelli, Paolo Veronese