@gabriele_cern
Architecture and objectsgcerniavskaja@gmail.com@gabriele_cern
Mykolas Valantinas. Tėvas
Nov 7 2025
Contemporary Art Centre (CAC)
The exhibition space is kept deliberately clean—clean enough to work. White walls, wide margins, no excess. A sterile environment where surfaces remain neutral and value can be recalculated without distraction. This kind of clarity belongs as much to workshops and print rooms as it does to galleries: a place where copying demands precision and mistakes carry weight. Cleanliness here is not aesthetic, but operational—it protects the process.
The architecture operates through imitation. It studies the visual codes of the CAC and repeats them almost perfectly. One wall, in particular, performs authority with confidence—solid, proportional, institutional. It passes. Only on closer inspection does it begin to feel slightly off, like a counterfeit that succeeds by refusing to draw attention to itself. The space does not confront the institution; it mirrors it closely enough to make the original unstable.
Works are positioned with discipline and distance. Drawings, AI-generated images, and fragments of currency sit like assets in circulation rather than objects for contemplation. Money appears as a system—disassembled, reconstructed, tested—where inheritance merges with mythology and authorship becomes transferable. Architecture follows the same logic: not breaking rules, but learning them, repeating them, and bending them just enough to expose how legitimacy is made.
The architecture operates through imitation. It studies the visual codes of the CAC and repeats them almost perfectly. One wall, in particular, performs authority with confidence—solid, proportional, institutional. It passes. Only on closer inspection does it begin to feel slightly off, like a counterfeit that succeeds by refusing to draw attention to itself. The space does not confront the institution; it mirrors it closely enough to make the original unstable.
Works are positioned with discipline and distance. Drawings, AI-generated images, and fragments of currency sit like assets in circulation rather than objects for contemplation. Money appears as a system—disassembled, reconstructed, tested—where inheritance merges with mythology and authorship becomes transferable. Architecture follows the same logic: not breaking rules, but learning them, repeating them, and bending them just enough to expose how legitimacy is made.
team:
Artist:
Mykolas Valantinas
With works by:
Rytis Valantinas
Film collaborator:
Nefeli Synesiou-Quay
Curator:
Povilas Gumbis
Mykolas Valantinas
With works by:
Rytis Valantinas
Film collaborator:
Nefeli Synesiou-Quay
Curator:
Povilas Gumbis
Coordinator:
Kotryna Karyznaitė
Communication:
Karolina Augevičiūtė,
Monika Valatkaitė
English translator, language editors:
Aistis Žekevičius,
Dangė Vitkienė,
Gemma Lloyd
Kotryna Karyznaitė
Communication:
Karolina Augevičiūtė,
Monika Valatkaitė
English translator, language editors:
Aistis Žekevičius,
Dangė Vitkienė,
Gemma Lloyd
Architectue:
Gabrielė Černiavskaja
Graphic design:
Vytautas Volbekas
Head of technical team:
Lukas Strolia
Technical team:
Almantas Lukoševičius, Vytautas Narbutas, Matas Šatūnas, Ilona Virzinkevič
Gabrielė Černiavskaja
Graphic design:
Vytautas Volbekas
Head of technical team:
Lukas Strolia
Technical team:
Almantas Lukoševičius, Vytautas Narbutas, Matas Šatūnas, Ilona Virzinkevič