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'Every Dog is a Lion' by Ona Juciūtė at Editorial, Vilnius

Ona Juciūtė is a young generation sculpture artist, who is interested in how things are made, what the origins of materials are and their futures. The exhibition “Every Dog is a Lion” is about alterations of resources and collective decisions regarding their changes. The artworks exhibited act as glimpses into civilised everyday life, attempting to invite nature homewards.

- Did you hear that nowadays vanilla is pricier than silver? I’ve read about it recently.
 - By vanilla, you mean the spice?
 - Yeah, those black sticks. Apparently, it’s a bean containing seeds from a delicate breed of orchid. Kinda rare.
 - I know nothing about it, but it seems curious how vanilla and silver ended up together in one category. Metal and edible seed. Was the headline like that?
 - Yes, actually it was. I don’t know if it is nonsense. I see the connection - imagine that the category is something additional. Something extra, luxury, an unnecessary investment. An accessory, so to speak.
 - You think seasoning is an accessory?
 - That’s exactly what I think. Earrings for buns, necklaces for pastries, silk scarfs for pudding.
 - OK. Do you think the author of that article also saw this?
 - I guess so, if we see this as a change in general tendencies. The increasing price of vanilla could also signify a change in our mindsets that shows it’s no longer necessary to invest in something one can hold on to or leave to your next of kin. You buy it, eat it, digest it and return it back to the soil in a different substance and location.
 - So according to you, this vanilla situation signifies that people no longer care for stability, coins, and electrical conduction, and are buying overpriced fragrant seeds? Curious, but I am not sure if increasing the price necessarily says much about the people who are agreeing to pay more for it. Maybe it’s directly connected to a natural phenomenon - a summer, one that got too hot, or a drought that destroyed the crop or something similar. Maybe it was just an unfortunate year for vanilla orchids and they were less fruitful.
 - Yeah, that could be true. But I doubt that.


— Ona Juciūtė

9.9.20 — 10.10.20

Photo by Ugnius Gelguda

Editorial

'The Host' by Pakui Hardware at eastcontemporary, Milan

'Chlamydomonas Nivalis' by Alberto Tadiello at Umberto Di Marino Gallery, Napoli

'The Centre' by Patrick Cole and Dominic Watson at Kupfer, London

'Ghost Member: Prosthesis/ Symbiosis as a shelter' by Naomi Maury at L'Assaut de

'I show you the signs of life' by Alina Izmaylova at Kerka gallery, Saint-Petersb

'I Don't Want No Trouble' by Lucas Erin at All Stars, Lausanne

'The Grime and the Schmutz' by Béla Feldberg at Jo-Anne, Frankfurt am Main

'Night of Hinnā' by Monia Ben Hamouda at Bungalow, ChertLüdde, Berlin

'Getting Down to Business' by Rebecca Rothenborg at Galerie Roland Puschitz, Vien

'Why Me?' by Pietro Agostoni at Associazione Barriera, Turin

'Holloway - ‘Das Gift’ is a Gift' by Céline Struger at Loggia, Vienna

'Under the Moon' Group Show at Camp Eternal Hell Chamber, New York

'SUPER-NATURAL', Group Show at OLHÃO, São Paulo

'Body Electric' by Zuza Golinska at Galerie Anton Janizewski, Berlin

'Almost Collapsing Balance' by Liao Wen at Capsule Shanghai

Curated by: 'HARDCORE FREEDOM' by Esben Weile Kjær at Zeller van Almsick, Vienna

anonymous, naïve ca. 1970– at Money Gallery, Saint Petersburg

'Real Life Shoes', Group Show at Atelierhaus Klingental, Basel

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