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Open a larger version of the following image in a popup: Geistė Marija Kinčinaitytė, Telkinys / The Pool, 2020
Open a larger version of the following image in a popup: Geistė Marija Kinčinaitytė, Telkinys / The Pool, 2020

Geistė Marija Kinčinaitytė Lithuanian, b. 1991

Telkinys / The Pool, 2020
UHD singe-channel video, stereo sound, duration 14 min
Edition of 5 plus 1 AP
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  • Telkinys / The Pool
Geistė Marija Kinčinaitytė (b. 1991, Lithuania) is an artist and researcher currently pursuing a PhD in Film and Screen Studies at the University of Cambridge. Her research interests include media...
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Geistė Marija Kinčinaitytė (b. 1991, Lithuania) is an artist and researcher currently pursuing a PhD in Film and Screen Studies at the University of Cambridge. Her research interests include media archaeology, video art, photography and installations.

Her image-making practice is defined by encounters with the eerie - something that can be described as stepping out of the comfort zone — whether of the self, human, habit, habitat, or milieu — and an alertness to a yet-to-be-identified presence. Kinčinaitytė’s visual practice is based on self-perception, exploring different environments and reflecting upon the concept of humanity as a whole.

“The Pool” (2020) is a video essay, loosely based on the short story of the same title. This work is the result of a collaboration with writer Elaine Tam, and experimental composers Simon Allen, Jan Hendrickse and Sandro Mussida. The culmination of a long-standing fascination with themes of hospitality, belonging and alienation, Kinčinaitytė uses image-making to draw out the mesmeric charge of naturally-occurring phenomena: bodies of water, barren lands and interior cavities.
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Provenance

The Pool

1
A disappearance into the deeply set ravines

2
carved out by erosion over the last ten million years.

3
Perhaps vis shared the same quest:

4
a trembling body of water

5
to relieve this unprecedented

6
if not supernatural

7 heat.

8
These moments of complete solitude, exposed

9
to the harshest elements

10
remind me

11
that the natural world asserts itself in an omnipotent

12
alien apathy...

13
It manifests its ambivalence in all possible inter-worlds -

14

it belongs to all living beings and to none.

15
Only the sublime threat of annihilation

16
reminds us of our lowly place

17
in the ecosystem of something still more grand.

18
I had already once heard of it in my lifetime

19
in 2004.

20
The slip of tectonic plates

21
a colossal undersea landslide reverberating as earthquake

22
drawing water away from the coast.

23
It flexed before making a prophetic return

24
a deadly gush approaching the shore

25
extending itself

26
producing an unreality we can only use the imaginary of numbers to describe.

27
You see

28
the shore is divided in its very outline

29

there are effects of anchoring

30

collapsing at the edge

31

strategies of approaching

32

overflow...

33
That is why we look to the horizon in wait for another coming.

34
Take me away

35
deliver me to myself.

36
The ​oceanic​,

37
lap me up, enfold me

38
roll me beneath you

39
then slink away.

40
Newly discovered footage had been released in the springtime of 2018

41
elucidating the mating ritual of Fanfish Seadevils.

42
The female Seadevil’s planet-like size

43
up to half-a-million times the weight of the male

44
makes for a cosmic landing when he engages her

45
in what is described as parasitic sex.

46
The ​tissues and circulatory systems of the two fuse​,

47
and he feeds on nutrients received through her blood,​

48
his face mostly dissolved

49
unable to free himself

50
he fertilises her eggs as she requires.

51
The Other

52
that to which my most basic sense of existence

53
sense of Self

54
must cling

55
idles here between ancient rock.

56
It’s not speechlessness

57
not that which is still lacking words​,

58

or a sort of ineffability​ ​that does not merit interest from language 59

but the most splendid of quietudes.

60
In it I sensed the latent possibility of infinite worlds

61
writhing beneath its skin.

62
These holes like dispossessed orifices

63 sinkholes

64
ever-extending like geological history

65
or the relentless passage of time.

66
To be with you...

67

What is it to have a knowledge with the other

68

and in the other

69

the other’s knowledge with-in me?

70
An impregnation of rumbling intensities, a valve

71 widening...

72
The breach of the Other ​—

73
a sublime pain

74
yet a most precious

75 transformative

76 gift.

77
What more are ​scenes of love

78
than a ​vomiting and excreting

79

in which the body attempts to escape from itself

through one of its organs?​ I thought, 80

of these excavation missions grinding us both down.

81
Ashes to ashes,

82
dust to dust.

83
How easily we confuse the cause of desire itself

84
for the object of desire as an end.

85

A certain red is also a fossil

86
drawn up from the depths of imaginary worlds.​

87
The colour in my eye

88
is as old

89
as the song in my spine.

90
I follow the last wave’s recession

91
deeper — deeper — deeper

92

The drip ticks out the seconds

93
the source of a stream along which the minutes flow​.

94
The image that captures

95
cannot contain you

96

within, your breast is a sea

97

that draws me to its bed.

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