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Exhibition view Galerija Vartai, Vilnius, 2019
Photo by Tomas Tarekas
Exhibition view Galerija Vartai, Vilnius, 2019
Photo by Tomas Tarekas
Donata Minderytė Lithuanian, b. 1991
Ar aš normali? Kamilė, 21-eri metai / Am I Normal? Kamile, 21 years old, 2019
Aliejus, drobė / Oil on canvas
180 x 210 cm
71 x 82 1/2 in
71 x 82 1/2 in
€ 5,500.00
Donata Minderytė (b. 1991, Lithuania) is an artist who graduated from the Painting Department of the Vilnius Academy of Arts, earning an MA degree in 2016. In 2024, Minderytė successfully...
Donata Minderytė (b. 1991, Lithuania) is an artist who graduated from the Painting Department of the Vilnius Academy of Arts, earning an MA degree in 2016. In 2024, Minderytė successfully defended her PhD thesis at the Vilnius Academy of Arts, further enriching her academic achievements.
Her works have been acquired by various museum collections, including Kiasma (Helsinki), MOCAK (Kraków), the Noewe Foundation (Vilnius), and Mo Museum (Vilnius).
Donata Minderytė focuses on what is to be avoided in linguistic translation - moving away from the original, fading the initial meaning and altering the message.Minderytė uses photography or stills from daily life videos as a tool of memory. Captured in paint, the images lose detail, intensity and contrast, thus leaving an interpretive space for translation. The finished painting is hardly an accurate representation of the moment that it was inspired by: deliberate translational error becomes a generalised substitute of a past event, but not its representation.
Her works have been acquired by various museum collections, including Kiasma (Helsinki), MOCAK (Kraków), the Noewe Foundation (Vilnius), and Mo Museum (Vilnius).
Donata Minderytė focuses on what is to be avoided in linguistic translation - moving away from the original, fading the initial meaning and altering the message.Minderytė uses photography or stills from daily life videos as a tool of memory. Captured in paint, the images lose detail, intensity and contrast, thus leaving an interpretive space for translation. The finished painting is hardly an accurate representation of the moment that it was inspired by: deliberate translational error becomes a generalised substitute of a past event, but not its representation.
