![\"VilmaSileikiene12_Autoportetas_su_proteviais\"](\"http:\/\/www.letmekoo.lt\/wp-content\/uploads\/2013\/08\/VilmaSileikiene12_Autoportetas_su_proteviais.jpg\")
<\/a><\/p>\nSelf-portrait with Ancestors, 2013<\/h4>\n
… on my right is Mykolas Kaributas Vi\u0161nioveckis, born 330 years before I was. Studied in Prague, travelled all around Europe, appreciated art, and spoke six languages. At the age of 30 married out of convenience. Nearly at the same time was elected as King of Poland and Grand Duke of Lithuania (due to his father\u2019s authority, they say). Reigned for four years, although in Lithuania Pacai family was more influential than the Duke. Died (did not perish though) during the war with Turks.<\/p>\n
… on my left is Paulius Boimas, mayor of Vilnius and doctor of medicine. A contemporary of Mykolas Kaributas, yet lived even 70 years. Studied in Krakow and gained doctor degrees in philosophy and medicine. Worked in the estate of the monarch of Lithuania and Poland. Loaned money with interest, traded by wholesale, cured noblemen. Married to a widow Liucija, had no children. Completed the building works of the Christ\u2019s Suffering Chapel in Lvov that has been started yet by his grandfather. The present portrait of him has been hanging there as well. His father Povilas Jurgis Boimis, a physician too, was known as artists\u2019 patron.<\/p>\n
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Forgotten personal photographs, piled up in boxes, were nestling to each other more and more closely. Poor storage conditions (low temperatures and high humidity) affected the emulsion of the prints and they started to \u2018radiate\u2019. The pictures absorbed each other\u2019s surfaces. Here started the latent biography <…> where names and facts were no more important. A photograph not as a document, but rather a new form of hallucination.<\/p>\n The Process series drew its inspiration from the possibility to stay with art works (to have them close, to touch, to investigate, to smell, to feel). From communication with each of them. My subjective interpretations that this contact inspires are dictated by here and now, circumstances of the very present moment. They are tiny fragments both of history and the everyday.<\/p>\n \u00a0<\/strong><\/p>\n Maternity leave. My new status \u2013 being a mother \u2013 turned into condition for several new works. Sometimes I felt if there was no me anymore. I had to do something…<\/p>\n \u00a0<\/strong><\/p>\n Vilma\u2019s lulaby<\/a><\/p>\n Richard’s lullaby<\/a><\/p>\n Touch and voice is the main means of communication between parents and their baby. Voice for a baby is the only way to express his\/her will, requests, and objections. Parents\u2019 response to their baby\u2019s reactions is likewise phonic. The old-time mothers\u2019 lullabies and songs inevitably transform into new forms and registers, different components tie them into a whole. One can only resume: the \u201cvoicephonies\u201d are the total therapy and the saving prayer.<\/p>\n These handmades that have or used to have a practical function reached me from my friends\u2019 homes as valuable exhibits. I photograph them as if they were museum art pieces. The stories behind the things become inherent part of the work, a certain metrics. Photographs are exhibited alongside with descriptions of the stories.<\/p>\n Serving as a shepherd Pranas caught cold and was taken to the hospital. While staying there he asked his sister to send him a bunch of used postcards. Once back home he handed to her a little box, a souvenir he sewed himself of the used postcards. For the diligent boy it was a way to cheat time. Today Pranas is in his 60s, his infirm hand trembles more and more.<\/p>\n Currently I am interested in personal here and now experiences and various memories \u2013 intersections of retained feelings to the present moment. Ri\u010dardas \u0160ileika (a hearsays collector) has recorded my phrase: It feels good to be in everything, but not with everyone. To be in everything \u2013 after this feeling I am seeking, trying to trace the intangible and the ephemeral. It is a pleasant practice, if not a certain addiction. If I could, I was in this way. In an abstract way and abstract territory… Do not even know where and how… In the midst of… For me it is important to grasp what happens when we meet other people or art pieces. After all every piece (a thing or a human) besides its physical dimensions has a great many of various purposes, intentions, certain energy. My photograph series Made in Lithuania is about love and memories, about use and retention. Using white balance outgrew into Process series that is about me and art works, about their implications. We all are interrelated much more than we ever dare to admit to ourselves. Namely these intersections are what intrigue me. I believe in communication through art works. It is real; it takes place \u2013 to the most unsuspected directions, at unpredictable angles and amplitudes. It is the sincerest form of communication.<\/p><\/blockquote>\n 1996\u20132002 m. \u2013 Photography and Media Department, Vilnius Academy of Arts<\/p>\n 1988\u20131990 m.\u00a0\u2013 Photography, 47th vocational school Vilnius<\/p>\n 2005 \u2013 residency Nordic AiR at Nordic\u00a0Institute for Contemporary Art (NIFCA), Hordaland Kunstsenter, Bergen, Norway. Sleipnir travel grant, NIFCA<\/p>\n 2004 \u2013 AIR program\u00a0Djerassi, Woodside, California, US. State grant for educational purposes, Ministry of Culture of the Republic of Lithuania. Sleipnir travel grant, NIFCA<\/p>\n 2003 \u2013 Creative workshop in \u0160eteniai (organized by \u010ceslavas Milo\u0161as Homeland Foundation, Janina Monkut\u0117-Marks museum-gallery)<\/p>\n 1998 \u2013 Cit\u00e9 internationale des arts, Paris. A residency by Vilnius Academy of Arts<\/p>\n 2012 \u2013 Procesas (Process), Vartai gallery, Vilnius<\/p>\n 2011 \u2013 Procesas (Process), Pu\u0161ynas hotel, Druskininkai, Lithuania<\/p>\n 2009 \u2013 Vilnius days in Gdansk, Process\u00a0and Made in Lithuania, Pionova gallery, Gdansk, Poland<\/p>\n 2006 \u2013 Kampas (Corner)\u00a0(sound and photographs), Janina Monkut\u0117-Marks museum-gallery, K\u0117dainiai (with Ri\u010dardas ir Nojus \u0160ileika)<\/p>\n 2005 \u2013 Made in Lithuania, presentation, Cork Vision Centre, Ireland<\/p>\n 2004 \u2013 Lithuania\u2013America: In search for Happy Life, Djerassi AIR program, Woodside, California, US<\/p>\n 2004 \u2013 Northeast Issues Meeting, Augusta gallery, Helsinki, Finland<\/p>\n 2003 \u2013 24\/7: Wilno\u2013Nueva York (vis\u0105 par\u0105), presentation and discussion, Contemporary Art Centre Vilnius<\/p>\n 1999 \u2013 A\u0161 ne meninink\u0117 (I am not artist), performance in LTV broadcast tvvv.plotas: artist and presentation<\/p>\n 2012 \u2013 NordArt 2012, Vorwerksalle, Budelsdorf, Germany<\/p>\n 2010 \u2013 Lithuanian Art 2000\u20132010: Ten Years, Contemporary Art Centre Vilnius<\/p>\n 2008 \u2013 Placebo, Galerie im Kornerpark, Berlin<\/p>\n 2007 \u2013 Among Us. Exhibition of Vilnius women artists, Contemporary Art Centre Vilnius<\/p>\n 2004 \u2013 Atkuriama atmintis (Restored Memory), Vartai gallery, Vilnius<\/p>\n 2003 \u2013 2 Show. Young Art from Latvia and Lithuania, Contemporary Art Centre Vilnius<\/p>\n 2003 \u2013\u00a0Fotografija.doc (Photography.doc),\u00a0Arka gallery, Vilnius<\/p>\n 2002 \u2013 Who is who, IBID. Projects gallery, London<\/p>\n 2002 \u2013\u00a0Artgenda 2003: Biennial for young artists around the Baltic Sea, Hamburg, Germany<\/p>\n 2001 \u2013 Self-esteem. Lithuanian Art 01, Contemporary Art Centre Vilnius<\/p>\n 2001 \u2013\u00a0Contemporary art exhibition on billboards, Vilnius<\/p>\n 2000 \u2013 Fotoantropologija (Photoanthropology),\u00a0Antano Mon\u010dio namai-muziejus, Palanga<\/p>\n 1999 \u2013 Nesaug\u016bs (Insecure),\u00a0Contemporary Art Centre Vilnius (with Inga Raubait\u0117 and Aida Ka\u010dinskait\u0117)<\/p>\n 1999 \u2013\u00a0Identifikacija (Identification), performance in a troleybus No. 5, Vilnius (with Troika group)<\/p>\n Made in Lithuania, interpretations of heritage, documentality, history, communication, photography, installation, research<\/p>\n Diane Arbus, Marina Abramovi\u0107, Joel Sternfeld…<\/p>\n http:\/\/vilmasileikiene.see.me\/<\/a><\/p>\n http:\/\/www.artslant.com\/global\/artists\/show\/233319-vilma-ileikien<\/a><\/p>\n http:\/\/www.kulturosbarai.lt\/uploads\/news\/id57\/KB_2013_02_web.pdf<\/a><\/p>\n http:\/\/www.culture.lt\/lmenas\/?st_id=19489<\/a><\/p>\n<\/a><\/p>\nLatent Biography, 2013<\/h4>\n
\n<\/a><\/strong><\/p>\nProcess, since 2009, colour prints on canvas, 60 x 75 cm<\/h4>\n
At the Astrologer, Italian painting, 17th C. \/ 2008, series Process<\/h4>\n
\n<\/a><\/strong><\/p>\nSloughs, 2006, four prints, 30 x 40 cm<\/h4>\n
\n<\/a>Corner, 2006, sound and photographs. Vilma \u0160ileikien\u0117 (lullaby), Ri\u010dardas \u0160ileika (lullaby), Nojus \u0160ileika (weeping)<\/strong><\/h4>\n
\n<\/a><\/p>\nMade in Lithuania, 2004\u20132005, colour prints, 40 x 50 cm<\/h4>\n
\n<\/a><\/p>\nLittle Box, 1960, postcards, cardboard, plastic (from x-ray prints that had the emulsion layer scraped off)<\/h4>\n
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\nStudies<\/h4>\n
Grants, residencies<\/h4>\n
\nSelected exhibitions and presentations<\/h4>\n
Solo shows<\/h4>\n
Group shows<\/h4>\n
\nKeywords of Creative Practice<\/h4>\n
\nArtists I Admire<\/h4>\n
\nCurriculum Vitae<\/a><\/strong><\/h4>\n
\nLinks<\/strong><\/h4>\n