The video work "Personal code" documents the artist's visits to the bureaucratic institutions trying to acquire the official permit for a child to travel abroad, to write an official apology for committed criminal offence and getting the warning for "inappropriate behavior" while on probation. It is filmed using stable camera, capturing fragmented images and conversations with the employees of the institutions as well as formal procedures.
"The associability of this artist, publicly acknowledged in the video "Personal code"is real and inevitable, therefore - completely organic and fundamental message of this work is critical and ironic; it refers to the absurdity of bureaucracy and the consideration of a person just as a set of formal numbers filling the system" (Renata Dubinskaite "Evaldas Jansas - the innocent hero of video works").
The video work "Personal code" documents the artist's visits to the bureaucratic institutions trying to acquire the official permit for a child to travel abroad, to write an official apology for committed criminal offence and getting the warning for "inappropriate behavior" while on probation. It is filmed using stable camera, capturing fragmented images and conversations with the employees of the institutions as well as formal procedures.
"The associability of this artist, publicly acknowledged in the video "Personal code"is real and inevitable, therefore - completely organic and fundamental message of this work is critical and ironic; it refers to the absurdity of bureaucracy and the consideration of a person just as a set of formal numbers filling the system" (Renata Dubinskaite "Evaldas Jansas - the innocent hero of video works").
The video work "Personal code" documents the artist's visits to the bureaucratic institutions trying to acquire the official permit for a child to travel abroad, to write an official apology for committed criminal offence and getting the warning for "inappropriate behavior" while on probation. It is filmed using stable camera, capturing fragmented images and conversations with the employees of the institutions as well as formal procedures.
"The associability of this artist, publicly acknowledged in the video "Personal code"is real and inevitable, therefore - completely organic and fundamental message of this work is critical and ironic; it refers to the absurdity of bureaucracy and the consideration of a person just as a set of formal numbers filling the system" (Renata Dubinskaite "Evaldas Jansas - the innocent hero of video works").
The video work "Personal code" documents the artist's visits to the bureaucratic institutions trying to acquire the official permit for a child to travel abroad, to write an official apology for committed criminal offence and getting the warning for "inappropriate behavior" while on probation. It is filmed using stable camera, capturing fragmented images and conversations with the employees of the institutions as well as formal procedures.
"The associability of this artist, publicly acknowledged in the video "Personal code"is real and inevitable, therefore - completely organic and fundamental message of this work is critical and ironic; it refers to the absurdity of bureaucracy and the consideration of a person just as a set of formal numbers filling the system" (Renata Dubinskaite "Evaldas Jansas - the innocent hero of video works").
In his video performance "Anthology of Meaningfulness" Evaldas Jansas keeps on repeating the same act: having his ankle tied to the wall with a rope, he runs from the wall across the room and falls hardly on the floor. The exhaustion of the artist is becoming visible through the course of the repeated action.
Evaldas Jansas explains his performance with a saying that can be applied to posthomo sovieticusreality: If You don't Succeed to Fall Properly, Try Once Again!
In his video performance "Anthology of Meaningfulness" Evaldas Jansas keeps on repeating the same act: having his ankle tied to the wall with a rope, he runs from the wall across the room and falls hardly on the floor. The exhaustion of the artist is becoming visible through the course of the repeated action.
Evaldas Jansas explains his performance with a saying that can be applied to posthomo sovieticusreality: If You don't Succeed to Fall Properly, Try Once Again!
In his video performance "Anthology of Meaningfulness" Evaldas Jansas keeps on repeating the same act: having his ankle tied to the wall with a rope, he runs from the wall across the room and falls hardly on the floor. The exhaustion of the artist is becoming visible through the course of the repeated action.
Evaldas Jansas explains his performance with a saying that can be applied to posthomo sovieticusreality: If You don't Succeed to Fall Properly, Try Once Again!
In his video performance "Anthology of Meaningfulness" Evaldas Jansas keeps on repeating the same act: having his ankle tied to the wall with a rope, he runs from the wall across the room and falls hardly on the floor. The exhaustion of the artist is becoming visible through the course of the repeated action.
Evaldas Jansas explains his performance with a saying that can be applied to posthomo sovieticusreality: If You don't Succeed to Fall Properly, Try Once Again!
"Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. Artists in local Contemporary Art Centre cafe, loony-bin's patients, policemen etc - everyone has his more or less phobic attitudes towards being shot. The film is a fast montage of opinions, which, very literally, provokes the author's comparing with the abuser. The next step he does - E.Jansas leaves the camera behind and takes a gun". (R.Dubinskaitė)
"Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. Artists in local Contemporary Art Centre cafe, loony-bin's patients, policemen etc - everyone has his more or less phobic attitudes towards being shot. The film is a fast montage of opinions, which, very literally, provokes the author's comparing with the abuser. The next step he does - E.Jansas leaves the camera behind and takes a gun". (R.Dubinskaitė)
"Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. Artists in local Contemporary Art Centre cafe, loony-bin's patients, policemen etc - everyone has his more or less phobic attitudes towards being shot. The film is a fast montage of opinions, which, very literally, provokes the author's comparing with the abuser. The next step he does - E.Jansas leaves the camera behind and takes a gun". (R.Dubinskaitė)
"Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. Artists in local Contemporary Art Centre cafe, loony-bin's patients, policemen etc - everyone has his more or less phobic attitudes towards being shot. The film is a fast montage of opinions, which, very literally, provokes the author's comparing with the abuser. The next step he does - E.Jansas leaves the camera behind and takes a gun". (R.Dubinskaitė)
The narrative of this film is based on the "personal story"of the artist(which could be fictional) and his thoughts about the society affected by the advertisement industry. In this video he used documentary and animated material; it contains a lot of comicality, irony and farce. Openly, but ironically, the story told by the author evokes the strategies of suggestibility used in the advertisement. However, there is a contrast here, which is created through the absurd images (reversal of advertisement strategies) and which completely undermines the experience of common pleasure. The question is: is it contemporary capitalism that is laughing at me, or is it me mocking it?
The narrative of this film is based on the "personal story"of the artist(which could be fictional) and his thoughts about the society affected by the advertisement industry. In this video he used documentary and animated material; it contains a lot of comicality, irony and farce. Openly, but ironically, the story told by the author evokes the strategies of suggestibility used in the advertisement. However, there is a contrast here, which is created through the absurd images (reversal of advertisement strategies) and which completely undermines the experience of common pleasure. The question is: is it contemporary capitalism that is laughing at me, or is it me mocking it?
The narrative of this film is based on the "personal story"of the artist(which could be fictional) and his thoughts about the society affected by the advertisement industry. In this video he used documentary and animated material; it contains a lot of comicality, irony and farce. Openly, but ironically, the story told by the author evokes the strategies of suggestibility used in the advertisement. However, there is a contrast here, which is created through the absurd images (reversal of advertisement strategies) and which completely undermines the experience of common pleasure. The question is: is it contemporary capitalism that is laughing at me, or is it me mocking it?
The narrative of this film is based on the "personal story"of the artist(which could be fictional) and his thoughts about the society affected by the advertisement industry. In this video he used documentary and animated material; it contains a lot of comicality, irony and farce. Openly, but ironically, the story told by the author evokes the strategies of suggestibility used in the advertisement. However, there is a contrast here, which is created through the absurd images (reversal of advertisement strategies) and which completely undermines the experience of common pleasure. The question is: is it contemporary capitalism that is laughing at me, or is it me mocking it?
"To Be Exposed"is a grotesque post-documentary fiction, which is articulated through the stuttering narrative of neurotic character. The discussion about Vilnius urban development plan is presented in the form of memory of "the trip", surreal scenes achieved through digital montage portray the character flying naked above Vilnius city and crashing down into the unsuspecting by-passers killing some of them on the way, his arrest and the questioning of "the conceptual artist" in the police station, the psychiatric hospital - all of the episodes of this uncommon story evoke the fragmented structure of the dream, complemented by the tragicomic feel and self-ironic pastiche.
"To Be Exposed"is a grotesque post-documentary fiction, which is articulated through the stuttering narrative of neurotic character. The discussion about Vilnius urban development plan is presented in the form of memory of "the trip", surreal scenes achieved through digital montage portray the character flying naked above Vilnius city and crashing down into the unsuspecting by-passers killing some of them on the way, his arrest and the questioning of "the conceptual artist" in the police station, the psychiatric hospital - all of the episodes of this uncommon story evoke the fragmented structure of the dream, complemented by the tragicomic feel and self-ironic pastiche.
"To Be Exposed"is a grotesque post-documentary fiction, which is articulated through the stuttering narrative of neurotic character. The discussion about Vilnius urban development plan is presented in the form of memory of "the trip", surreal scenes achieved through digital montage portray the character flying naked above Vilnius city and crashing down into the unsuspecting by-passers killing some of them on the way, his arrest and the questioning of "the conceptual artist" in the police station, the psychiatric hospital - all of the episodes of this uncommon story evoke the fragmented structure of the dream, complemented by the tragicomic feel and self-ironic pastiche.