GEDVILĖ TAMOŠIŪNAITĖ
SCREEN WORKS

Working on the fine line between installation and photography, Gedvilė Tamošiūnaitė divines the future using techniques evocative of the past. Her silkscreen prints informed by the look of obsidian remind us not only of this magical stone but also of the screens we so often depend on in our everyday life. As with our devices, we can catch glimpses of ourselves in Gedvilė's work and be confronted with "a healthy terror of being alive." Read the exhibition text of the curator, Eglė Ambrasaitė, below.

Galerija Meno Niša

11. 6. – 3. 2026.06.11-07.03

Screen Works by Gedvilė Tamošiūnaitė

Curated by Eglė Ambrasaitė

High in viscosity obsidian lava flows produce a natural glass, obsidian, typically black in color. Deriving from the depths since the times of the Old World, obsidian glass was used by ancient peoples to manufacture cutting and piercing tools, weapons, jewelry, surgical scalpels, and ritual items. However, it is thought that it was in the ancient civilizations of Mesoamerica, namely the pre-Hispanic lands of the Aztecs, that obsidian glass was polished for the first time, revealing its highly reflective surface. In awe, Aztec priests believed that such black mirrors were manifestations of their deity Tezcatlipoca (“The God of Fatality”) and served as portals between worlds, revealing inevitable destinies, answers about the afterlife, and deeper mysteries of the universe. Gedvilė Tamošiūnaitė’s dark screen photography offers a contemporary scrying experience. Silkscreen prints are printed directly onto mirrored and tinted glass, mounted on steel tripods or suspended within heavy metal frames; paper prints lie veiled beneath tinted dark glass, enclosed within black passepartouts. Reflective surfaces shift with light and the viewer’s position, transforming attempts at reproduction into self-portraits. Lost gazes, low-res textures, broken pixel surfaces and the audience’s reflections, whisper about the vastly fragmented intimacies out in the open – “a healthy terror of being alive”. Gedvilė’s work, thus, functions as a diary of the present-day condition of post-media, and through her works, primal dark matter finds its way to speak to us again.
On her practise Gedvilė writes:
Publicly accessible cameras streaming continuously: the Sermeq Kujalleq glacier calving into Disko Bay, Greenland; the Yangtze River, where baiji dolphins will never surface again; shipping ports; metro platforms; endangered ecosystems; your local shopping mall. Webcam encounters: bodies trying to “compose” themselves to fit into your screen, intimacy intertwined with distance, disrupted by pixels. A private gesture, a desire, and a planetary emergency are equally compressed, streamed, and negligible.
The project departs from midnight online observations – hours spent inhabiting the continuous time of surveillance streams, dwelling in duration that the infrastructure treats as disposable. I translate screenshots, the remnants of attention, through silkscreen onto glass and paper. The process is slow and manual, the opposite of the fleeting image it originates from.
Gedvilė Tamošiūnaitė is a Lithuanian artist and photographer based in Berlin. She holds a BA in Photography and Media Arts from Vilnius Academy of Arts (2015) and an MA in Photography from ECAL/Ecole cantonale d’art de Lausanne (2022). Her practice spans photography, video, and art direction, with work exhibited internationally. In 2024, she was selected as a FUTURES Talent. Tamosiunaite’s artistic focus lies in translating contemporary human emotions and feelings into visual digital culture and non-verbal codes. She views digital emotional experience as a bloodless, painless, yet vulnerable collective condition. Through her work, she seeks to detect cracks where this abstract emotional landscape meets reality and becomes tangible. Questioning the status of the image, she delves into its reproducibility, seductiveness, and immateriality – by turning ephemeral digital screen images into slow, tactile, reflective surfaces that resist immediate consumption.

Eglė Ambrasaitė is a Lithuanian independent curator, artist, and researcher based between Žeimiai, Berlin, Budapest, and New York. She is the founding director of Aikas Žado Association and the curator of Aikas Žado Laboratory, a collectively run, non-profit contemporary art institution in Lithuania. Her practice weaves (crip) materialities, decolonial and more-than-human thought, affect theory, and dark ecology through exhibitions, public programmes, and research-based projects. Her interdisciplinary work circulates across Europe and the United States, with curated exhibitions, workshops, and talks presented in countries including Lithuania, Germany, Portugal, Hungary, North Macedonia, Spain, and Croatia, as well as in New York. Her writing has been published internationally, including by Mousse Publishing, and in journals such as Deleuzine and Kajet.
CREDITS:
The artist: Gedvilė Tamošiūnaitė (@gedvile_____)
The curator: Eglė Ambrasaitė (@egleambrasaite)
Photographer: Laurynas Skeisgiela (@laurynas.skeisgiela)
Exhibition technician: Deividas Valentukonis (@valentukonis2)
Lighting design: Nojus Drąsutis (@auksoshuo)
Graphic design: Monika Janulevičiūtė (@monika_januleviciute)
Opening soundtrack: Reya (Rugilė Deksnytė)
Sponsor: Cinevera
The project is funded by the Lithuanian Council for Culture
The project is partially funded by Vilnius City Municipality
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