20013: exhibition in the Cinematheque exposition space

This exhibition has no topic. Or to be more precise, the topic is too broad and abstract to define. “20013” is dedicated to the act of remixing, whilst viewing it both as a force of annihilation and empowerment. The main aim of this exhibition is to build an experience packed with raw destruction, humour, and a glimpse of melancholy – all to create a variety of moods we often use to define reality. It is sought that the exhibition – as well as works in it – would remind one of the opportunity for change or some space for potential; this potential sometimes arises in a bleak situation when a few pieces are rearranged.

Legacy Russell writes: “Remixing is an act of self-determination; it is a technology of survival.” The energy of exhibition works is raw, impulsive, and sometimes chaotic. Here, both external images and personal records are freely mixed through recycling and comparison, notwithstanding any genre constraints or linearity laws. Similarly, right next to the exhibition works, one will find its architectural details-exhibition props: vending machines, photo magnets, or plastic chairs which have been dismantled into distinct shapes. Thus, remixing is used as a tool of expansion or a way to resist the categorization of reality.

Some exhibition works embody the prehistory of smartphones and social media. They utilize various recording technologies, enjoy speed and opportunities to multiply themselves, without the fear of getting stuck in an abstract stream of images for some time. Most of the works can be understood as a peculiar home cinema. By mixing snippets of everyday life and conversations, the wish to newly experience these reality fragments, which would help grasp that reality more clearly, unfolds. The exhibition also turns to the eye of the camera; one is reminded of the mode of machine-conditioned look, as well as the instinctive curiosity that remains, regardless of the evolution of technologies, through which we choose to see.

In “20013”, remixing and loose montage create collages, in which the relationship between a personal diary, pop culture, and fiction is vibrant and nonconformist. Here, memory shows up as a social and performative phenomenon; its texture becomes dependent on technological expression, which encompasses not only screens but also fragile sculptural surfaces. Technology and its dictated rhythms are employed in the search for personal autonomy and the expansion of its boundaries. While repressive structures and rhetoric are understood as part of the present, one is reminded of the right “to fuck this shit up” – to break ranks and form one’s own. Sometimes, by surrendering to the outside dizziness, while other times, on the contrary, by slowing the usual speed down and turning the eyes towards the cracks and crevices of reality.

*Exhibition title „20013” links to the years of Ryan Trecartin’s film „Junior War“. The numbers are turned into a distinct combination for the duration of the show. 

Josiane M.H. Pozi, m.c, 2025

Video

10:12 min

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Požeminiai taškai, Stagnation, 2012–2014

Video

It is one of three video works from the same series. They were created by remixing thrown-out VHS tapes or overwriting them with new footage. In this way, not only the found footage but also the outdated analog medium were recycled. The works were digitized as part of “Meno Avilys” Lithuanian audiovisual heritage preservation project Sinemateka.lt.

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Ryan Trecartin, Junior War, 2013

Film

24 min

In “Junior War”, a throng of high schoolers congregate at night for a party in the woods sometime in the year 2000. A band plays, the kids get drunk, the boys and girls tepidly flirt, and groups deploy into cars for the purpose of destroying mailboxes, tee-peeing houses, breaking lawn ornaments, and sparring with the police. The film is composed entirely of the footage Trecartin took during his senior year of high school in exurban Ohio; as such, it baits the viewer with genealogical significance.

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okcandice, There Were 12 of Us (Part IV), 2025

Video 

11:41 min

“There Were 12 of Us” is a live audio-visual performance by okcandice at “Meno Avilys”. The work references and samples Laura Stasiulytė’s piece “Counting Braids” (2002) as a commentary on the artist’s own experience with race and visibility in Vilnius. 

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okcandice, There Were 12 of Us (Part IV) Code, 2025

Web Display

For their live performance, okcandice uses digital code to sample and manipulate sound in real time. The code samples Laura Sasiulyte’s video work “Counting Braids” (2002) which can be heard as a vocal motif throughout the performance.

This two-part work is a performance documentation by okcandice in Vilnius. It was created as a result of their research in Meno Avilys Cinematheque’s archive of digitized and restored films and video works. In their performance, okcandice samples Laura Stasiulytė’s piece “Counting Braids” (2002) — the only video in Cinematheque’s collection that features a Black artist (Racky Dianka). Using digital code and their voice, okcandice created a live experience for the “Meno Avilys”’s audience.

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Ulijona Odišarija, Strangers (glass panel), 2023

parts of a chandelier, nylon thread

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Ona Juciūtė, Inside Outs, 2024

sun-bleached textile

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Josiane M.H. Pozi, JPS Giving Rendition, 2020

Video

03:54 min

A spooky rendition of “Holding Back the Years” by Simply Red

Josiane M.H. Pozi  lives and works in London. Pozi works primarily with video and moving image, often integrating performance, installation, and collaboration with musicians and visual artists. Her work is concerned with themes such as intimacy, digital life, memory, expectation, disappointment, and the way personal relationships are mediated through everyday technologies. Recent solo exhibitions include: Carlos/Ishikawa (London) and Galerie Buchholz (Berlin). Her work was included in group shows at Casa Zalszupin (São Paulo), Raven Row (London), Fluentum (Berlin), Kunstmuseum St. Gallen, and 243 Luz (Margate).

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Tomas Poškus (a.k.a Požeminiai taškai) is a DJ and artist who has lived and worked in Lithuania, the United Kingdom, and Germany. The artist has influenced the dissemination of the early hip-hop culture in Lithuania. In 2013, Tomas collaborated with contemporary Lithuanian artists in the projects at the “Underground” Kim? space in Riga; he also participated in the dismantling process of Vitas Luckus’ exhibition at the National Art Gallery in Vilnius. At the moment, Tomas is a resident of Cashmere Radio and the sound and arts space “Draugų vardai”.

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okcandice / sonic seamstress is an artist-curator, writer, and musician. Their practice is concerned with methodologies of grief, Black audio-visual archives, and uses of the sonic in civic space.

In recent years, they have performed and exhibited work at Southbank Centre (London), Sophiensæle (Berlin), New Art Gallery (Walsall), Birmingham Symphony Hall, Haus der Kulturen der Welt (Berlin), Kunstverein in Hamburg, Gropius Bau (Berlin), La Casa Encendida (Madrid) and BOZAR (Brussels). 

Other positions include a curator for Sheffield Doc Fest and Birmingham Museum & Gallery, a guest lecturer at the Royal College of Art, and curatorial fellowships with the Woven Foundation, Jerwood Arts Foundation, and Obsidian Foundation.  

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The practice of Ryan Trecartin is a multimedia and multivalent system of film, sculpture, and installation. Trecartin has invented new languages of contemporary expression and self-actualization through his use of editing, sound design, and collaborative performance, often utilized at once and with equal intensity. 

Ryan Trecartin’s solo and collaborative work with artist Lizzie Fitch have been the subject of major museum exhibitions in the United States and internationally, including Prada Aoyama (Tokyo, 2024), Fondazione Prada (Milan, 2019), Astrup Fearnly Museet in Oslo and Baltimore Museum of Art (2018), Kunst-Werke (Berlin, 2014), Musée d’art Moderne de Paris (2011-2012), and MoMA PS1 (New York, 2009). His works were also presented at the Museum of Contemporary Art North Miami, Istanbul Modern and the Museum of Contemporary Art, Los Angeles (2010), as well as Fabric Workshop and Museum (Philadelphia) and The Power Plant (Toronto, 2009–2010).

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Ulijona Odišarija’s practice spans across sculpture, video, photography, text, and acts of collecting. She also makes music with her band “Steve & Samantha”. Ulijona pays great attention to thingness in her work – she is interested not only in the inexhaustible flow and variety of things but also in the very conditions of their existence. Examining objects that either lie outside our field of vision or are rendered invisible by their ubiquity and observing what makes something real, she seeks to liberate the object from its assigned function.

Her work has been presented at E.A. Shared Space in Tbilisi, Georgia; Vilnius Graphic Arts Centre, Montos Tattoo, Contemporary Art Centre and National Art Gallery in Vilnius, Lithuania; Morra Greco Foundation in Naples, Italy; Toronto International Film Festival in Canada; Close Up Cinema, SET and Institute of Contemporary Arts in London, United Kingdom; PAKT and LIMA Foundation in Amsterdam, Netherlands; Showroom in New York, USA, and online on flatness.eu, history-joy.cc, and aqnb.com.

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Ona Juciūtė lives and works in Vilnius. The artist has gained a Bachelor’s degree in political science at the Vilnius University Institute of International Relations and Political Science. She has also studied sculpture at the Vilnius Academy of Arts, and received both a Bachelor’s and a Master’s degree in sculpture. Ona is interested in things, materials, and habits. As she contemplates the change of newness and endings, she creates sculptures which somewhat remind one of items affected by everyday life.

Ona has had multiple personal exhibitions in various locations: “Editorial” project space in Vilnius, Centre for Contemporary Art “Derry~Londonderry” in the United Kingdom, and “La Halle” contemporary art centre in Pont-en-Royans, France. The artist has also presented her work at the Museum of Contemporary Art Kiasma in Helsinki, MOCAK museum in Krakow, Contemporary Art Centre in Vilnius, the parallel Istanbul Biennial programme, National Art Gallery in Vilnius, Lithuanian National Drama Theater, RUPERT in Vilnius, and others. In 2021, her sculptures became a part of the permanent exhibition of the Museum of Contemporary Art Kiasma in Helsinki. Ona has also received the “JCDecaux2016” award and the prize founded by Lithuanian-American artist Aleksandra Kašuba.