Residency opportunity for LIAA members. Archaeomythologies of Future Past

2025-07-14

We’re excited to share the first residency opportunity developed through a new international collaboration between the Italian association Flusso and the Lithuanian Interdisciplinary Artists’ Association (LIAA). This residency will take place in the Apulia region of southern Italy in autumn 2025 and is dedicated to exploring the legacy of Marija Gimbutas and her work across Southern Europe.
This current call is open exclusively to LIAA members, with one artist to be selected for the first edition. Below you’ll find the full description in English. A dedicated website and social media presence are in development, but we look forward to growing this initiative together.

Archaeomythologies of Future Past
Interdisciplinary Art and Research Programme Dedicated to Marija Gimbutas and Her Work in Apulia and Southern Europe
October 2025/ November 2025

 

Location: Apulia Region, Italy
Curator: Erika Lastovskytė, Association Flusso
Advisory Board: Louise O’Kelly, Lina Rukevičiūtė, Eugenia Isetti, Donatella Pian
Lithuanian Partners: Lithuanian Interdisciplinary Artists’ Association (LIAA), Lithuanian Culture Institute, Lithuanian Embassy and Cultural Attache in Italy
Italian Partners: Soprintendenza Archeologia, Belle Arti e Paesaggio BAT e Foggia, Istituto Italiano di Archeologia Sperimentale, Città di Putignano. LIAA activities are financed by the Lithuanian Council for Culture.
This residency is curated by Erika Lastovskytė. Her research, supported by the Lithuanian Council for Culture, forms the basis of this programme.

About the Host 

Flusso is a non-profit organisation based in the Apulia region of southern Italy. We support artists, researchers, and cultural practitioners through residencies, interdisciplinary collaborations, and exchanges across diverse creative and academic fields. We are interested in practices that move between disciplines and engage with both local contexts and international perspectives. Through our residencies, we offer time, space, and resources for contemporary practitioners responding to place, layered histories, and cultural imaginaries. 

About the Programme 

The first articulation of our curatorial approach – an interdisciplinary art and research residency programme – is dedicated to exploring and honouring the legacy of Marija Gimbutas, the renowned Lithuanian archaeologist whose research and excavations in Apulia (Italy) and Southern Europe reshaped our understanding of prehistoric cultures.
This programme explores the dynamic intersections between archaeology and contemporary art through fieldwork at local heritage sites, studio-based experimentation, and in-depth conversations with invited experts in archaeology, speleology, art history, and related fields.
Participants are invited to develop research-led projects that engage with prehistoric cultures, everyday life, ritual practices, and forms of symbolic or spiritual expression – seeking new ways to respond to the material traces and cultural imaginaries of deep time, and to forge new dialogues between scientific inquiry and creative expression.

The programme has contributed to the artistic research of Eglė Budvytytė for her new work commissioned for the Lithuanian Pavilion at the 61st Venice Biennale, developed in collaboration with curator Louse O’Kelly and artist Marija Olšauskaitė. As part of this process, we shared research materials, organised site visits, and facilitated meetings with archaeologists and institutional experts. We continue to support the production of this work. Our current resident, Lithuanian composer Kristupas Bubnelis – a doctoral student at Columbia University in New York – is exploring sound ecologies and the mythopoetic resonances of Marija Gimbutas’ legacy for his new composition. The piece will premiere this autumn in Vilnius at the festival Muzikos Ruduo (Music Autumn).

The Archaeomythologies programme is curated by Erika Lastovskytė, founder and president of Flusso. She is a cultural producer, translator, curator, and researcher currently working at the intersection of contemporary art and archaeology. She is developing curatorial research focused on the legacy of Marija Gimbutas and examining how contemporary artists and practitioners engage with archaeological narratives and methodologies. Her research is supported by the Lithuanian Council for Culture.

Context

Marija Gimbutas was a renowned archaeologist and anthropologist whose work focused on the Neolithic and Bronze Age cultures of “Old Europe” (a term she coined). She conducted several significant excavations in the south of Europe, which were pivotal in developing her theories on prehistoric European cultures. Her early fieldwork in Bosnia (1953–1956) at the Butmir culture site revealed intricately designed ceramics and anthropomorphic figurines, providing early evidence for her theories of a sophisticated, interconnected Neolithic society. In the 1960s, she excavated sites in Greece, such as Sitagroi and Achilleion, uncovering artefacts that supported her interpretations of goddess worship and matristic social structures. Between 1969 and 1971, she led excavations at Anza in Macedonia, where she found a wealth of Neolithic material reinforcing her concept of an Old European civilization. In the 1970s, her research extended to Italy’s Apulia region, where similar figurines and pottery suggested a widespread symbolic and cultural network across Southern Europe. 

Her findings in these regions supported her theories of a widespread, interconnected Old European civilization that was peaceful, egalitarian, and centred around goddess worship. The wealth of material culture unearthed during these European excavations provided a substantial empirical foundation for Gimbutas’ interpretations and helped shape our understanding of Neolithic societies in southeastern Europe – societies that appear to have shared similar practices with those in Anatolia, Syria, Palestine, and Mesopotamia during corresponding periods. 

1. Old Europe 

Gimbutas proposed that prehistoric Old Europe was characterised by a matristic (female-centred, but not matriarchal) society where women played central roles in religion, culture, and possibly governance. She described Old European societies as peaceful, egalitarian, and matrifocal, contrasting sharply with the later patriarchal and warlike Indo-European societies. 

2. Civilisation of the Goddess 

Gimbutas argued that Old Europe was dominated by a goddess-centred religion. She identified numerous female figurines and symbols which she interpreted as evidence of widespread goddess worship. She analysed symbols and artefacts, suggesting that they represented various aspects of the Great Goddess, such as life, death, regeneration, and the natural world.

3. Kurgan Hypothesis 

Gimbutas introduced the Kurgan Hypothesis, which posits that the peaceful, matristic societies of Old Europe were eventually overrun by patriarchal, Indo-European-speaking tribes from the Pontic-Caspian steppe. This invasion, she argued, led to a significant cultural transformation, including the shift from female-centred deities to male-dominated pantheons, increased militarism, and hierarchical social structures. 

4. Archaeomythology 

Gimbutas advocated for an interdisciplinary approach combining archaeology, mythology, linguistics, and folklore to understand ancient cultures more comprehensively. She suggested that mythological themes and symbols could provide insights into prehistoric societies, arguing for a continuity of goddess worship and associated myths from the Neolithic to historic times. 

5. Symbolism and Iconography 

Gimbutas extensively studied the symbols and iconography found on artefacts, proposing that they were not merely decorative but carried deep religious and cultural significance. Many symbols were interpreted as representations of natural cycles, fertility, and the generative powers of the earth, reflecting the reverence for nature and life inherent in Old European societies. 

Grotta Scaloria: A Key Site in Apulia 

Grotta Scaloria, located near Manfredonia in the Apulia region of southern Italy, is one of the most significant Neolithic ritual sites in Europe. Discovered in the 1930s and later excavated more extensively in the 1970s, the cave revealed layers of ceremonial activity, including human burials, painted pottery, animal remains, and evidence of water rituals. The stratigraphy and artefacts suggest a complex symbolic use of subterranean space by Neolithic communities. 

Marija Gimbutas regarded Grotta Scaloria as one of the key sites in her broader theory of Old Europe – a peaceful, goddess-centred civilization that spanned the Balkans and Mediterranean regions. The cave’s blend of ritual, domestic, and mortuary functions aligns with her interpretations of Neolithic spirituality, particularly the integration of life, death, and cyclical regeneration. 

Today, Grotta Scaloria remains an important point of reference for archaeologists and artists exploring prehistoric cosmologies, symbolic systems, and the sensory experience of sacred spaces. Research on Grotta Scaloria and its wider cultural context continues through the work of the Italian Institute of Experimental Archaeology, as well as scholars such as Dr. Eugenia Isetti and Dr. Antonella Traverso, whose interdisciplinary approaches contribute to a deeper understanding of Neolithic ritual and material culture in Southern Italy. 

The site is strictly protected and may be accessible only during active excavation phases. Meanwhile, artists are encouraged to explore archaeological and natural sites in the region that provide similar phenomenological experiences. 

Residency Programme Details 

For three weeks, participants will have the opportunity to conduct research, reflect and develop their artistic practices; to engage with archaeological contexts; to examine the legacy of Marija Gimbutas; and to focus on the creation of new, original work outside of their usual environment. 

i) Fieldwork: Activities include site visits, surveys, and data collection to inspire artistic creation. 

ii) Archive Work: Participants will have access to the archival materials and a range of other resources (dedicated library and audiovisual materials) through collaborating institutions and organisations. 

iii) Studio Work: Focus on developing new ideas, refining concepts, integrating new knowledge and experience, experimenting with new materials to create innovative work. 

Depending on their research interests, participants will have access to a network of professionals, including archaeologists, speleologists, philosophers, art historians, and curators. These experts will be available for consultation, providing valuable insights and guidance throughout the development and production of the participants’ work. 

Residency Outcome Expectations 

Participants will be asked to share a brief reflection in free form – including a short written text and optionally image, sound, or other media – which may be featured on our forthcoming website and in a publication documenting the residency’s outcomes. They are also expected to present aspects of their artistic or research practice to the local community. This can take the form of a talk, workshop, screening, open studio, or other format that offers insight into their interdisciplinary process. 

Application Details 

Location: Putignano (BA), Italy
Putignano, located approximately 40 km from Bari and 75 km from Brindisi, offers a strategic base for exploring Apulia’s rich archaeological and cultural heritage. Its central position makes it ideal for site visits throughout the region — from the prehistoric sanctuaries and coastal settlements of Gargano, to the Neolithic villages and hypogea of the Murgia plateau, and the ritual caves and megalithic landscapes of Salento. Well connected by road and rail, Putignano provides easy access to a diverse range of historical sites, making it an excellent location for a research-led residency focused on archaeology and contemporary art.
Application period ends: 14 August, 2025
Selection date: 28 August, 2025
Residency period: Mid–October/November 2025
Duration: 3 weeks (21 days)
Number of artists: 1
Accommodation: provided – a private bedroom in a spacious, shared house located in the historic centre of Putignano. Shared spaces include bathrooms, a fully equipped kitchen and living area, studio room, and a library/office space. The house also features two terraces, offering panoramic views of the old town and spectacular sunsets. The accommodation is intended to support both focused individual work and a sense of communal living.
Studio/work space: provided – a dedicated studio space in one of the municipal buildings such as public library, municipal theatre or similar (currently in progress with the Putignano administration).
Curatorial/research support: provided – including organised site visits, meetings with experts, and access to relevant research materials.
Residency outcome expectations: Participants are expected to share a brief reflection on their experience and present aspects of their artistic or research practice to the local community, in a format agreed upon with the organisers. There is no expectation to produce a final work.
Available technical equipment: provided – professional analogue and digital photography equipment (cameras, lenses, lighting, and a 35mm scanner), handheld Marantz Professional audio
Other available resources:
– Library with curated sections on Marija Gimbutas, archeology, art history, philosophy, poetry, art books and artist books, various other selected fiction and non fiction titles.
– Basic drawing and sketching materials.
– Music instruments (piano, accordion, cajon, electric and acoustic guitars and other).
– Two bicycles (mountain bike and road bike).
Artist support: 1000 EUR inclusive of tax
Expenses: international travel and per diem are covered by organisers.

Requirements
– Proven record of creative practice/research in the field matching the residency aims of the Signs out of Time interdisciplinary art and research programme;
– Artists/researchers working in the field of photography, moving image, sound, text, performance art and body-based practice;
– While not required, a driving licence can be helpful for getting around the region independently.

Application documents
– CV
– Portfolio
– Motivation letter (including a paragraph on how your practice/research corresponds with the aims of the residency programme), up to one page.
Please send the documents as one PDF file by email to info@letmekoo.lt by 14 August, 2025.

More information www.flussoproject.com and by email info@flussoproject.org 

Image: From the field trip, 2025. Photo by Eglė Budvytytė.