https://indre-serpytyte.com Indrė Šerpytytė Thu, 17 Mar 2022 14:18:49 +0000 https://indre-serpytyte.com en https://indre-serpytyte.com/Home Wed, 15 Apr 2020 14:17:47 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Home CURRENT &amp; UPCOMING Botenstoffe (Messenger Substances) HALLE 14, Zentrum für zeitgenössische Kunst, Leipzig, Germany 25 April - 9 August 2026 Technologies of Peace: Art and Transition in Contemporary Europe (1989-2026) Irish Museum of Modern Art, Dublin, Ireland 12 September 2026 - 9 May 2027 https://indre-serpytyte.com/Work Wed, 29 Apr 2020 11:24:32 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Work Haptic Constellations Territorial Symphonies When the Golden Sun is Sinking Monument for the Eternal Pursuit of the Ideal This is How We Win Wars Facing Us Orders The Screen Fades to Black From.Between.To Toppled Pedestal 150 mph 2 Seconds of Colour (1944 - 1991) Drancy A State of Silence https://indre-serpytyte.com/Installations Wed, 29 Apr 2020 12:03:18 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Installations Botenstoffe at HALLE 14, Leipzig, Germany (2026)Chobi Mela International Festival of Photography (2026) This is How We Win Wars at Cromwell Place (2023) Celebrate For Change at Mo Museum (2021) (1944 – 1991) – Former NKVD – MVD – MGB – KGB Buildings at Kunsthall 3,14 (2021) Forest at Parafin Gallery (2021) Refugees: Forced to Flee at Imperial War Museum (2020) Museum of Modern Art and Western Antiquities, Section II Department&nbsp;of&nbsp;Carving&nbsp;and&nbsp;Modelling, Cristina Guerra Contemporary Art (2019) From.Between.To, Galerija Vartai (2019) Flowers of our Land, The Israeli Center for Digital Arts (2019) When the Golden Sun is Sinking,&nbsp;Rugby Art Gallery and Museum (2019) Territorial Symphonies,&nbsp;58th Venice Biennale (2019) Extension.lt, Triumph Gallery (2019) From.Between.To, Parafin (2019) Memory Matters, Skissernas Museum (2018) Riga International Biennial Of Contemporary Art (RIBOCA) (2018) Textile Abstraction, Casas Riegner (2018) Entangled Tales, Rupert (2018) Daegu Photo Biennale (2018) Collecting Hits, National Gallery of Art, Vilnius (2018) Undersong, Kim? (2018)Secular Icons in an Age of Moral Uncertainty, Parafin (2017) Age of Terror: Art Since 9/11, Imperial War Museum (2017) Focus, Frieze New York (2017) Absence of Experience, CAC Vilnius (2017) Community Board, Grimm (2017) The Image of War, Bonniers Konsthall (2017) Pedestal, Parafin (2016) Ocean of Images: New Photography 2015, MoMA (2015) Conflict, Time, Photography, Museum Folkwang (2015) Krakow Photomonth, MOCAK (2015) Conflict, Time and Photography, Tate Modern (2014) https://indre-serpytyte.com/Publications Wed, 29 Apr 2020 12:05:26 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Publications (1944 - 1991) Former NKVD - MVD - MGB - KGB Buildings Post-War Stories(1944 - 1991) https://indre-serpytyte.com/Press Wed, 29 Apr 2020 12:05:16 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Press INTERVIEWS2020.12 / Hundred Heroines, Humanity and Hope 2020.10 / Aesthetica, Human Journeys 2019.07 / NOAR,&nbsp;Lithuanian artist Indre Šerpytytė: Traditions help us to navigate the globalised world by&nbsp;Egle Loor 2019.07 / Arterritory,&nbsp;Her own heritage by Auguste Petre 2019.06 / Photomonitor, Indrė Šerpytytė / When the Golden Sun is Sinking by&nbsp;Caroline Molloy 2018.09 / Arteviste,&nbsp;An Interview with Indre Serpytyte-Roberts at her Studio in Marylebone, London by&nbsp;Flora Alexandra Ogilvy 2015.08 / FK Magazine, Interview with Indre Šerpytytė by Evita Goze 2014.12 / Tate, TateShots: Indre Serpytye 2010.06 /&nbsp;Conscientious, A Conversation with Indre Serpytyte by&nbsp;Joerg Colberg REVIEWS 2020.10 / Leamington Observer, Warwick University research informs new 'Refugees: Forced to Flee' exhibition at London's Imperial War Museum by Catherine Vonledebur 2020.09 / Design Week,&nbsp;First look: designing the IWM’s exhibition on the lives of refugees by Molly Long 2020.09 / Londonist,&nbsp;What's It Like To Flee Your Home? Find Out In Three Free Exhibitions At Imperial War Museum by Tabish Khan 2020.09 / The Telegraph,&nbsp;Refugees: Forced to Flee review, Imperial War Museum: faltering but worthwhile testament to a calamity faced by millions by Lucy Davies2020.09 / Time Out, Meet an AI border guard at the Imperial War Museum’s outstanding new ‘Refugees’ season by Chris Waywell 2020.09 / Muddy Stilettos,&nbsp;See this! Refugees: Forced to Flee, Imperial War Museum, London 2019.06 / Lietuvos Rytas, Londone kurianti lietuvių menininkė žavi pasaulį originaliu braižu by&nbsp;Rūta Mikšionienė (in Lithuanian) 2019.05 / Frieze,&nbsp;Real, but Not Quite: VR at the 58th Venice Biennale by Matthew McLean 2019.05 / AnOther, The Best Things to See at the 2019 Venice Biennale by Thea Hawlin 2019.05 / Financial Times, Performance art comes to the Venice Biennale by Gareth Harris 2019.04 / E-Flux, Block Universe 2018.10 / Sveriges Radio, Den förträngda historien i ny utställning by David Richter (in Swedish) 2018.08 / Mousse Magazine, “Entangled Tales” at Rupert, Vilnius 2018.08 / Blouin Artinfo, Blurring line between art and viewer in Vilnuis by Louisa Elderton 2018.08 / The Calvert Journal, Riga Biennial: 5 ways to enrich your Baltic city break with contemporary art by Lisa Premiyak 2018.06 / Artnet, The First Riga Biennial’s Theme Is ‘Change’ - SoIt’s Paying Its Artists and Hiring an All-Woman Team of Curators by Kate Brown 2017.10 / The Guardian, Age of Terror: Art Since 9/11 review – a chilling show for dark times by Jonathan Jones 2017. 10 / The Telegraph, Too many lapses into triteness and banality - Age of Terror: Art Since 9/11, review by Alastair Sooke 2017.02 / Delfi,&nbsp;Londono lietuvė žengia karų ir kruvinų konfliktų pėdsakais by&nbsp;Zita Čepaitė (in Lithuanian) 2017.01 / Artnews.lt, Indrės Šerpytytės paroda „Patyrimo nebuvimas“ ŠMC (in Lithuanian)2016.12 / Wallpaper, In pictures: the W* photography desk’s 2016 digest of visual inspiration by Sara Taglioretti 2016.09 / The British Journal of Photography, Visible Memories: Reclaiming the relics of the Soviet era 2016.09 / Financial Times,&nbsp;The Art Market: Mountains in Florida2016.09 / Foam, A Visual History of Violence by Hinde Haest 2016.09 / Royal Academy, This week: five top art shows to see by Alice Primrose 2016.09 / Blouin Artinfo, ‘Pedestal’ at Parafin, London 2016.09 / Londoniete, Indrė Šerpytytė - Roberts: turime savimi didžiuotis by&nbsp;Živilė Kasparavičiūtė (in Lithuanian) 2016.09 / Anglija Today, Indrė Šerpytytė pristato savo parodą Londone2016.08 / Aesthetica,&nbsp;10 to See: Recommended exhibitions 2016.03 / Artforum, “Ocean of Images”:Museum of Modern Art by Colby Chamberlain 2016.01 / Artnet, At MoMA, Indrė Šerpytytė Points Out Torture Sites by Blake Gopnik2015.12 / The New York Times, Roots of Conceptual Art, Caught by a Camera’s Eye by Holland Cotter2015.12 / The New York Photo Review,&nbsp;With Quentin Bajac On A Walkabout Through "An Ocean of Images" by Barbara Confino&nbsp;2015.12 / The New York Photo Review, MoMA Still Cares by John Haber 2015.09 / The Subway Reader, A State of Silence 2015.04 / Fitzrovia Journal, Indrė Šerpytytė by Jane Singer 2015.03 / Afterimage, Conflict, Time, Photography by Harriet Riches2015.01 / African Yearbook of Rhetoric, The museography of disaster: museums faced with the material traces of extreme violence by&nbsp;Elisabeth Anstett2014.12 / Global Research, Receding into Memory: War Photography at the Tate Modern by&nbsp;Dr. Binoy Kampmark 2014.05 / Lietuvos Rytas,&nbsp;Lietuvė fotografė nesidangsto turtingo ir įtakingo užsieniečio vyro vardu (in Lithuanian)2013.09 /&nbsp;Culture Colony Quarterly (CCQ), A State Of Silence at Ffotogallery2013.09 / Photomonitor, Indre Serpytyte: Solo Exhibition by Rory Duckhouse&nbsp; 2012.10 / Frieze, Moments of Reprieve: Representing Loss in Contemporary Photography by Brian Dillon 2012.08 / Photomonitor, Moments of Reprieve: Representing Loss in Contemporary Photography by Marco Bohr2010.05 / Flash Forward,&nbsp;Flash (Back) Forward – No Trim by Hester Barnard 2010.03 / Creative Review,&nbsp;Hyeres International Festival of Fashion and Photography by Patrick Burgoyne 2010 / Derwent,&nbsp;A State of Silence at Angel Building, London 2009.09 / Lietuvos Rytas,&nbsp;Londone - I.Šerpytytės fotografijų paroda (in Lithuanian)&nbsp;2009.07 / Respublika 2009.06 / OjodePez, Indre Serpytyte: A State of Silence 2009.06 / InfoZona 2009.04 / Portfolio Magazine,&nbsp;New Light: Jerwood Photography Awards 2008.08 / 1000 Words, Issue 2, Construct 2008 / Next Level, Issue 13 2007.12 / Hotshoe, Issue 145 2007.12 / The British Journal of Photography, Issue 1542007.05/ Respublika 2007.04 / Respublika 2007.03 / Draugas,&nbsp;Nevienareikšmė fotografės I. Šerpytytės tyla&nbsp;by&nbsp;Dalia Cidzikaite (in Lithuanian) 2006.11 / Portfolio Magazine, Issue 44, Indre Serpytyte: A State of Silence https://indre-serpytyte.com/About Wed, 15 Apr 2020 14:19:50 +0000 Indrė Šerpytytė https://indre-serpytyte.com/About INDRĖ ŠERPYTYTĖ b. 1983 in Palanga, Lithuania Based in London, UK studio@indre-serpytyte.com EDUCATION2009 / MA in Photography, Royal College of Art2006 / BA in Editorial Photography, University of BrightonSOLO EXHIBITIONS 2021 /&nbsp;(1944 – 1991) – Former NKVD – MVD – MGB – KGB Buildings, Kunsthall 3.14, Bergen, Norway / Details 2019 /&nbsp;From. Between. To,&nbsp;Galerija Vartai, Vilnius, Lithuania / Details 2019 /&nbsp;When the Golden Sun is Sinking, Rugby Art Gallery and Museum, Rugby, UK / Details2019 /&nbsp;From.Between.To, Parafin, London, UK / Details 2019 / Territorial Symphonies, 58th Venice Biennale, Venice, Italy /Details 2017 /&nbsp;Focus, Frieze New York, NY, USA / Details2017 /&nbsp;Absence of Experience, Contemporary Art Centre, Vilnius, Lithuania / Details 2016 / Pedestal, Parafin, London, UK / Details 2013 / Ffotogallery, Turner House, Penarth, UK 2011 / Photographers Association, London 2011 / Vilnius Photography Gallery, Vilnius, Lithuania 2010 / Camera 16, Milan, Italy 2009 / Embassy of the Republic of Lithuania, London, UK 2007 / A State of Silence, Yossi Milo Gallery, New York, NY, USA GROUP EXHIBITIONS 2026 / Botenstoffe (Messenger Substances), Halle 14, Leipzig, Germany / Details 2026 /&nbsp;But a Wound that Fights,&nbsp;Chobi Mela – International Festival of Photography, Dhaka, Bangladesh /&nbsp;Details 2025 /&nbsp;Seeds of Hate and Hope,&nbsp;Sainsbury Centre, Norwich, UK /&nbsp;Details 2023 / Ares, Cromwell Place,&nbsp;London, UK / Details 2021 / Celebrate For Change, Mo Museum,&nbsp;Vilnius, Lithuania / Details 2021 / Forest, Parafin Gallery, London, UK / Details 2020 / Refugees: Forced to Flee, Imperial War Museum, London, UK / Details 2020 / Garden of Time: Textiles as Nature Poem, Mendes Wood DM, Online / Details 2019 /&nbsp;Museum of Modern Art and Western Antiquities, Section II Department of Carving and Modelling: Form and Volume, Cristina Guerra Contemporary Art, Lisbon, Portugal / Details2019 / EXTENSION.LT: Parallel Narrations, National Centre for Contemporary Arts, Arsenal, Nizhny Novgorod, Russia / Details 2019 /&nbsp;Flowers of our Land, The Israeli Center for Digital Arts, Holon, Israel / Details 2019 / EXTENSION.LT: Parallel Narrations, Triumph Gallery, Moscow, Russia / Details 2018 /&nbsp;Memory Matters, Skissernas Museum, Lund, Sweden / Details 2018 /&nbsp;Riga International Biennial Of Contemporary Art (RIBOCA), Riga, Latvia / Details 2018 /&nbsp;Textile Abstraction, Casas Riegner, Bogota, Columbia / Details 2018 /&nbsp;Entangled Tales, Rupert, Vilnius, Lithuania / Details 2018 /&nbsp;Daegu Photo Biennale, Daegu, South Korea / Details 2018 /&nbsp;Collecting Hits, National Gallery of Art, Vilnius, Lithuania / Details2018 /&nbsp;Age of Terror: Art Since 9/11, Imperial War Museum, London, UK / Details 2018 /&nbsp;Undersong, Kim?, Riga, Latvia / Details 2017 /&nbsp;Secular Icons in an Age of Moral Uncertainty, Parafin, London, UK / Details2017 /&nbsp;Community Board, Grimm, Amsterdam, The Netherlands / Details 2017 /&nbsp;The Image of War, Bonniers Konsthall, Stockholm, Sweden / Details 2017 / Kaunas Biennial, Kaunas, Lithuania 2017 /&nbsp;Central by East Central, Galeria Arsenal, Bialystok, Poland 2017 / International Festival of Photography, Belo Horizonte, Brazil 2017 /&nbsp;Invisible Cities, Wallach Art Gallery, Columbia University Lenfest Center of the Arts, New York, NY, USA / Details 2016 /&nbsp;A Take On Vintage Photography, Photography Museum, Šiauliai, Lithuania 2016 /&nbsp;Richard Osterweil / Indrė Šerpytytė / Achraf Touloub, To___Bridges___, New York, NY, USA 2016 /&nbsp;Return Policy, Howard St, New York, NY, USA 2015 /&nbsp;Ocean of Images: New Photography 2015, MoMA, New York, NY, USA / Details 2015 /&nbsp;Quiet Life. Modern Lithuanian Photography, Manggha Museum Of Japanese Art &amp; Technology, Krakow, Poland 2015 /&nbsp;Tbilisi Photo Festival, Writers' House of Georgia, Tbilisi, Georgia 2015 /&nbsp;Krakow Photomonth Festival, Museum of Contemporary Art in Krakow, MOCAK, Krakow, Poland / Details 2015 /&nbsp;Conflict, Time, Photography, Museum Folkwang, Essen, Germany / Details 2014 /&nbsp;Conflict, Time and Photography,&nbsp;Tate Modern, London, UK / Details 2014 /&nbsp;Postwar Stories, Kaunas Photography Gallery, Kaunas, Lithuania2014 /&nbsp;Viewfinders. Contemporary Baltic and Nordic Photography, Pingyao International Photography Festival, Pingyao, China 2014 /&nbsp;Viewfinders. Contemporary Baltic and Nordic Photography, Riga Art Space, Riga Photomonth, Riga, Latvia 2013 / Poetic Documents, Rotes Rathaus, Berlin, Germany; Granze Town Museum, Granze, Italy; Street Level Photoworks, Glasgow, UK; Lithuanian Culture Centre, ZPAF Gallery, Warsaw, Poland; National Gallery of Art, Vilnius, Lithuania 2012 /&nbsp;Moments of Reprieve, Paradise Row, London, UK 2011 / Memoria Variabile, Galleria Milano, Milan, Italy 2011 /&nbsp;Les Rencontres d’Arles, Grande Halle, Arles, France 2010 / The House of Nobleman, London, UK 2010 / Trys, Fotohof, Salzburg, Austria 2010 / Victoria and Albert Museum, London, UK 2010 /&nbsp;The Road to Contemporary Art, Camera16, Rome, Italy 2010 /&nbsp;Update.UK. Photography in Britain after 2000, Camelot Gallery &amp; Gallery Imago Mundi – Foundation, Krakow Photomonth, Krakow Poland 2010 /&nbsp;International Festival of Fashion and Photography, Villa Noailles, Hyeres, France 2010 /&nbsp;The Open West, Summerfield Gallery, Cheltenham, UK 2010 / The Photographers' Gallery, London, UK 2010 / Exposure,&nbsp;James Hyman Gallery, London, UK 2009 /&nbsp;Chelsea College of Art &amp; Design, London, UK&nbsp; 2009 /&nbsp;Hoopers Gallery, London, UK 2009 /&nbsp;Show RCA, Gulbenkian Gallery, Royal College of Art, London, UK 2009 /&nbsp;Prix Leica, Hockney Gallery, Royal College of Art, London, UK 2007 / Jerwood Photography Awards, Stills Gallery, Edinburgh, UK 2007 / IPG/Terry O’Neill Award,The Independent Photographers Gallery,&nbsp;Battle, UK 2007&nbsp;Crane Kalman Gallery, Brighton, UK 2006 /&nbsp;Jerwood Photography Awards, Jerwood Space, London, UK GRANTS &amp; AWARDS 2013 /&nbsp;The Arts Foundation, Still Life Photography (shortlisted) 2011 / Discovery Award, Les Rencontres de la photographie, Arles (nominated by Simon Baker)2010 / Foam Paul Huf Award (nominated) 2010 / Magenta Foundation, Flash Forward - Bright Spark Award 2010 / Hyères International&nbsp;Festival of Fashion and Photography 2009 /&nbsp;National Media Museum’s Photography Bursary 2009 /&nbsp;Hoopers Gallery Prize 2009 / Metro Imaging Award 2008 / Leica Prize (shortlisted) 2008 / Cite Internationale des Arts, Paris (artist-in-residence) 2008 / Fujifilm Distinction Awards (third prize) 2007 /&nbsp;Terry O’Neill Award (specially commended) 2007 /&nbsp;First London International Creative Competition (shortlisted) 2007 /&nbsp;Arts Council England Grant2007 /&nbsp;Arte Laguna, International Photographic Art Prize (finalist) 2006 /&nbsp;Jerwood Photography Award COLLECTIONS Lewben Art Foundation, Vilnius, Lithuania The Victoria and Albert Museum, London, UK David Roberts Art Foundation, London, UK Collection of Jay Jopling, London, UK Derwent London, UK VISITING LECTURER POSTS 2014 / Royal College of Art 2014 / University of Brighton 2009 - 2012 / University of Wolverhampton 2011 / Newent School, Gloucester https://indre-serpytyte.com/Haptic Thu, 17 Mar 2022 14:18:49 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Haptic <img width="5945" height="3963" width_o="5945" height_o="3963" data-src="https://freight.cargo.site/t/original/i/f9bfb4a740483773295535b35a82af6ef4fc7fea25da86bfa91680a636f3bf7a/11.14BienaleII-61.jpg" data-mid="136664025" border="0" alt="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " data-caption="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " src="https://freight.cargo.site/w/1000/i/f9bfb4a740483773295535b35a82af6ef4fc7fea25da86bfa91680a636f3bf7a/11.14BienaleII-61.jpg" /> <img width="5452" height="3635" width_o="5452" height_o="3635" data-src="https://freight.cargo.site/t/original/i/34976cce0704797808d9ad128e1df3ba6b16ec27a0112ab6088c4e8130f9292c/11.14BienaleII-81.jpg" data-mid="136664002" border="0" alt="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " data-caption="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " src="https://freight.cargo.site/w/1000/i/34976cce0704797808d9ad128e1df3ba6b16ec27a0112ab6088c4e8130f9292c/11.14BienaleII-81.jpg" /> <img width="5340" height="3560" width_o="5340" height_o="3560" data-src="https://freight.cargo.site/t/original/i/d0c573c97d743251958cbc1c5fa6197a2fd564442e6302390ec60a7afee54632/11.14BienaleII-86.jpg" data-mid="136664003" border="0" alt="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " data-caption="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " src="https://freight.cargo.site/w/1000/i/d0c573c97d743251958cbc1c5fa6197a2fd564442e6302390ec60a7afee54632/11.14BienaleII-86.jpg" /> <img width="5298" height="3532" width_o="5298" height_o="3532" data-src="https://freight.cargo.site/t/original/i/332522488129591c1ab43de9208cf91caf653e257995885726346a1223b7ccbb/11.14BienaleII-88.jpg" data-mid="136664004" border="0" alt="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " data-caption="Indre Serpytyte, Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " src="https://freight.cargo.site/w/1000/i/332522488129591c1ab43de9208cf91caf653e257995885726346a1223b7ccbb/11.14BienaleII-88.jpg" /> <img width="5494" height="3663" width_o="5494" height_o="3663" data-src="https://freight.cargo.site/t/original/i/2c34d0df6303dc7e7d7691aece8909020f53ac49b8f2aeedd0fab44f61b1bd61/11.14BienaleII-76.jpg" data-mid="136664024" border="0" alt="Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " data-caption="Haptic, 2021. Still images of the performance. 13th Kaunas Biennial, 2021. Photography by Martynas Plepys. " src="https://freight.cargo.site/w/1000/i/2c34d0df6303dc7e7d7691aece8909020f53ac49b8f2aeedd0fab44f61b1bd61/11.14BienaleII-76.jpg" /> Haptic B (0:33 min), HD video with sound, 9.45 min, looped, 2021 Haptic T (2:00 min), HD video with sound, 10:25 min, looped, 2021Haptic T (2:00 min), HD video with sound, 10:25 min, looped, 2021 <img width="2048" height="1365" width_o="2048" height_o="1365" data-src="https://freight.cargo.site/t/original/i/af87af6086c96654806257f512d145270589047938766c824e91919fb579ae3a/12.10Bienalesdokumentacija-145.jpg" data-mid="136671721" border="0" alt="Spitting, 2021. Bronze resin, steel pipe and water" data-caption="Spitting, 2021. Bronze resin, steel pipe and water" src="https://freight.cargo.site/w/1000/i/af87af6086c96654806257f512d145270589047938766c824e91919fb579ae3a/12.10Bienalesdokumentacija-145.jpg" />Spitting, 2021. Bronze resin, steel pipe and water Haptic 2021 In the English language, “touch” has many meanings, all of which relate to being connected, present or aware. All living beings are, in some fundamental sense, in touch with each other – humans, vegetation and creatures share the same air. Touch opens up worlds beyond our own body-minds, reminding us that we are not discrete, bounded individuals. Over this last year, we have been living in fear of each other — fear of getting too close. And yet many of us have suffered from a lack of touch. Both Šerpytytė’s performance Haptic and her bronze sculpture Spitting examine ideas behind “skin hunger” and the responsibilities that surround touch, the intimacy of bodies and proximity. They consider what stories, rituals and cultures emerge around both the invitation and prohibition of touch.In collaboration with the Kaunas Dance Theatre Aura Haptic was oiginally commissioned by the Kaunas Biennial 2021, Kaunas, Lithunia. https://indre-serpytyte.com/Constellations Wed, 23 Sep 2020 10:12:19 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Constellations <img width="1500" height="1500" width_o="1500" height_o="1500" data-src="https://freight.cargo.site/t/original/i/697187a69b6229e1756c2fb703802e106ab4651f0328a06e9ab22a9ab5e65797/CONST-2020-IWM-02.jpg" data-mid="83539141" border="0" alt="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 &copy; IWM" data-caption="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 © IWM" src="https://freight.cargo.site/w/1000/i/697187a69b6229e1756c2fb703802e106ab4651f0328a06e9ab22a9ab5e65797/CONST-2020-IWM-02.jpg" /> <img width="1500" height="1136" width_o="1500" height_o="1136" data-src="https://freight.cargo.site/t/original/i/e7e79b79adfd766dbe652ba80390152d53370d6acc2f4db0afcd3de838d09e93/CONST-2020-IWM-01.jpg" data-mid="83539140" border="0" data-scale="90" alt="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 &copy; IWM" data-caption="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 © IWM" src="https://freight.cargo.site/w/1000/i/e7e79b79adfd766dbe652ba80390152d53370d6acc2f4db0afcd3de838d09e93/CONST-2020-IWM-01.jpg" /> <img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2f311f811004f7d0ee55b382e7ad1d5af72af7893a9f2b00366e29f9196d4de1/CONST-2020-IWM-03.jpg" data-mid="83539142" border="0" alt="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 &copy; IWM" data-caption="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 © IWM" src="https://freight.cargo.site/w/900/i/2f311f811004f7d0ee55b382e7ad1d5af72af7893a9f2b00366e29f9196d4de1/CONST-2020-IWM-03.jpg" /> <img width="900" height="1200" width_o="900" height_o="1200" data-src="https://freight.cargo.site/t/original/i/d809a5ccf74d6026d789846757bbe212a8e04b143d2dd9d11e7b12fbc8107eb0/CONST-2020-IWM-04.jpg" data-mid="83539143" border="0" alt="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 &copy; IWM" data-caption="Installation view, Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 © IWM" src="https://freight.cargo.site/w/900/i/d809a5ccf74d6026d789846757bbe212a8e04b143d2dd9d11e7b12fbc8107eb0/CONST-2020-IWM-04.jpg" /> <img width="960" height="1200" width_o="960" height_o="1200" data-src="https://freight.cargo.site/t/original/i/fc2de4aecae9623a2b66a04f533bf044a3ae96dc3fb56d90671c8763c1bb9afa/CONST-2020-03.jpg" data-mid="83539139" border="0" alt="Constellation III, neon, 140 x 120 x 5 cm, 2020" data-caption="Constellation III, neon, 140 x 120 x 5 cm, 2020" src="https://freight.cargo.site/w/960/i/fc2de4aecae9623a2b66a04f533bf044a3ae96dc3fb56d90671c8763c1bb9afa/CONST-2020-03.jpg" /> Constellations 2020 In this project, Indrė Šerpytytė has represented various refugee journeys across the Mediterranean as neon ‘constellations.’ The collections of lines and circles denote the stops and starts along the way, but also allude to a universal language of astronomy. Digital technology has changed the way we travel and communicate, but the stars remain a key navigation tool on refugee journeys. In 2016, a CNN report recorded a smuggler telling refugees, “See those stars. They mean North. Follow them.” For Šerpytytė, the stars represent both a practical tool and a symbol of hope. Each individual route is taken from Crossing the Mediterranean Sea by Boat, a research project led by Professor Vicki Squite (University of Warwick) and funded by the Economic and Social Research Council. Constellations was oiginally commissioned by the Imperial War Museum, London, UK.&nbsp; Related exhibitions:Refugees: Forced to Flee, Imperial War Museum, London, UK, 2020 https://indre-serpytyte.com/Territorial-Symphonies Thu, 16 Apr 2020 15:11:23 +0000 Indrė Šerpytytė https://indre-serpytyte.com/Territorial-Symphonies <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bb8b70c71f59a6c1ee30ccad069e274bfb9946bf181640d34df2a3c67da60431/Territorial-Symphonies_Indre-Serpytyte_Web1.jpg" data-mid="68170812" border="0" src="https://freight.cargo.site/w/1000/i/bb8b70c71f59a6c1ee30ccad069e274bfb9946bf181640d34df2a3c67da60431/Territorial-Symphonies_Indre-Serpytyte_Web1.jpg" /> <img width="1600" height="1200" width_o="1600" height_o="1200" data-src="https://freight.cargo.site/t/original/i/55226ed348287331529d15767fc46f26e94ffa4b2a39d07a8dcdbecbce2508de/Territorial-Symphonies_Indre-Serpytyte_Web2.jpg" data-mid="68170813" border="0" src="https://freight.cargo.site/w/1000/i/55226ed348287331529d15767fc46f26e94ffa4b2a39d07a8dcdbecbce2508de/Territorial-Symphonies_Indre-Serpytyte_Web2.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/bcb7f75eedca34034c1edb7d5bccde5a55a048618be7e86bf537c2150334d527/Territorial-Symphonies_Indre-Serpytyte_Web3.jpg" data-mid="68170815" border="0" src="https://freight.cargo.site/w/1000/i/bcb7f75eedca34034c1edb7d5bccde5a55a048618be7e86bf537c2150334d527/Territorial-Symphonies_Indre-Serpytyte_Web3.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/f2c8d2b03e5d4bb74affbc5411404e2bee41b15b81bb1b1e53e849e7218f208b/Territorial-Symphonies_Indre-Serpytyte_Web4.jpg" data-mid="68170816" border="0" src="https://freight.cargo.site/w/800/i/f2c8d2b03e5d4bb74affbc5411404e2bee41b15b81bb1b1e53e849e7218f208b/Territorial-Symphonies_Indre-Serpytyte_Web4.jpg" /> <img width="675" height="1200" width_o="675" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b8c2ea16e6c234d9be2a526746492fb304e3a9f0b3c007a1536f425a49c309ca/Territorial-Symphonies_Indre-Serpytyte_Web6.jpg" data-mid="68170818" border="0" src="https://freight.cargo.site/w/675/i/b8c2ea16e6c234d9be2a526746492fb304e3a9f0b3c007a1536f425a49c309ca/Territorial-Symphonies_Indre-Serpytyte_Web6.jpg" /> <img width="1800" height="1200" width_o="1800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/a92a99ff40d8f3ea7b575647f95a947a9809bdb2a975a38a0150b90ee716419a/Territorial-Symphonies_Indre-Serpytyte_Web5.jpg" data-mid="68170817" border="0" src="https://freight.cargo.site/w/1000/i/a92a99ff40d8f3ea7b575647f95a947a9809bdb2a975a38a0150b90ee716419a/Territorial-Symphonies_Indre-Serpytyte_Web5.jpg" /> Territorial Symphonies 2019During the 58th Venice Biennale Indrė Šerpytytė presents Territorial Symphonies. This new commission explores inclusion and exclusion in the biennale, one of the most prominent moments in the international arts calendar. In Territorial Symphonies, a brass band plays national anthems of the more than 60 countries that came later to his world stage. Not having the luxury of a permanent space, their pavilions lie outside of Giardini. Taking this as a starting point, this new work seeks to highlight the power dynamic between the countries on the inside and outside. As an act of protest, the performers will play outside the bounds of the Giardini, highlighting the countries’ inability to have a presence within the grounds itself. Forming a continuous fanfare to the missing and absent, the work asks us to reassess the established borders and territories that govern geopolitical landscapes and ideologies. Countries in full: Albania, Andorra, Antigua and Barbuda, Argentina, Armenia, Azerbaijan, Bangladesh, Belarus, Bosnia &amp; Herzegovina, Bulgaria, Chile, China (People’s Republic of), Croatia, Cuba, Cyprus, Dominican Republic, Estonia, Georgia, Ghana, Grenada, Guatemala, Haiti, Iceland, India, Indonesia, Iran, Iraq, Ireland, Ivory Coast, Kiribati, Kosovo, Latvia, Lithuania, Luxembourg, Madagascar, Malaysia, Malta, Mexico, Mongolia, Montenegro, Mozambique, New Zealand, North Macedonia, Pakistan, Peru, Philippines, Portugal, San Marino, Saudi Arabia, Scotland, Seychelles (Republic of), Singapore, Slovenia, South Africa (Republic of), Syrian Arab Republic, Thailand, Turkey, Ukraine, United Arab Emirates, Wales, Zimbabwe Related exhibitions:Territorial Symphonies, Venice Biennale, Venice, Italy, 2019 https://indre-serpytyte.com/When-the-Golden-Sun-is-Sinking Wed, 29 Apr 2020 12:25:20 +0000 Indrė Šerpytytė https://indre-serpytyte.com/When-the-Golden-Sun-is-Sinking <img width="800" 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data-src="https://freight.cargo.site/t/original/i/137ff54057f18d84db6a68ad571e2ffd2918bdd8ff607ad32f51521f2a2bb3fa/IndreSerpytyte-GRAIN-2019-16.jpg" data-mid="68933767" border="0" src="https://freight.cargo.site/w/800/i/137ff54057f18d84db6a68ad571e2ffd2918bdd8ff607ad32f51521f2a2bb3fa/IndreSerpytyte-GRAIN-2019-16.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/2fdd5c884fd5301640133d97bbb85f8062002a6c65a65eb31c4b0af8947cba43/IndreSerpytyte-GRAIN-2019-17.jpg" data-mid="68933769" border="0" src="https://freight.cargo.site/w/800/i/2fdd5c884fd5301640133d97bbb85f8062002a6c65a65eb31c4b0af8947cba43/IndreSerpytyte-GRAIN-2019-17.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/7ede1801d83db9ca50d24f9c2e56ae40e851e992ba1b8c3b4023789b16032955/IndreSerpytyte-GRAIN-2019-18.jpg" data-mid="68933771" border="0" src="https://freight.cargo.site/w/800/i/7ede1801d83db9ca50d24f9c2e56ae40e851e992ba1b8c3b4023789b16032955/IndreSerpytyte-GRAIN-2019-18.jpg" /> <img width="800" height="1200" width_o="800" height_o="1200" data-src="https://freight.cargo.site/t/original/i/b29fded2b431763975488228bfdf6406db705a41c4e7286b6314539b5117dba4/IndreSerpytyte-GRAIN-2019-19.jpg" data-mid="68933774" border="0" src="https://freight.cargo.site/w/800/i/b29fded2b431763975488228bfdf6406db705a41c4e7286b6314539b5117dba4/IndreSerpytyte-GRAIN-2019-19.jpg" /> When the Golden Sun is Sinking 2018 - 2019It is estimated that throughout both World Wars, the Ministry of Munitions employed around a million female munitions workers in thousands of arms factories. These women played a crucial role in Britain’s strategy of “total war”, especially after Britain’s Shell Crisis in 1915. Using archive material from Midlands collections as well as from the Imperial War Museum, Šerpytytė has examined the relationship between images of the female factory workforce, widely publicised as part of a political propaganda project to boost morale, and the images, accounts and ephemera that tell the largely hidden and forgotten story of the so-called ‘munitionettes.’&nbsp; In this unique installation the artist uses vases made in the trenches from spent shells&nbsp;as a way to explore the complex relationship between domesticity, ornament, labour, class, gender, war and trauma. The work explores the objects and materials of war. The project was commissioned by GRAIN Projects and is supported by Arts CouncilEngland. Related exhibitions:When the Golden Sun is Sinking, Rugby Art Gallery and Museum, Rugby, UK, 2019