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Exhibition view at Kazys Varnelis House-Museum, Vilnius.
Photo by Laurynas Skeisgiela
Exhibition view at Kazys Varnelis House-Museum, Vilnius.
Photo by Laurynas Skeisgiela
Open a larger version of the following image in a popup:
Exhibition view at Kazys Varnelis House-Museum, Vilnius.
Photo by Laurynas Skeisgiela
Exhibition view at Kazys Varnelis House-Museum, Vilnius.
Photo by Laurynas Skeisgiela
Monika Radžiūnaitė Lithuanian, b. 1992
Mieli sveteliai, sveiki atvykę į taip lauktas žmogaus pakasynas / Dilecta lumina, grata diu expectata hominum sepultura / Mieli žiburiai, sveiki atvykę su ilgai lauktu žmogaus laidojimu // Dear fellows, welcome to the long-awaited burial of a person / Di, 2023
Aliejus ant drobės / Oil on canvas
120 x 120 x 2 cm
€ 4,100.00 / Starting Bid: € 3100.00
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Monika Radžiūnaitė (b. 1992, Lithuania) is a painter who earned her MA from the Painting Department at Vilnius Academy of Arts in 2021. Her work is distinguished by its reinterpretation...
Monika Radžiūnaitė (b. 1992, Lithuania) is a painter who earned her MA from the Painting Department at Vilnius Academy of Arts in 2021. Her work is distinguished by its reinterpretation of history, drawing from medieval and early Renaissance art, and weaving cultural references into her narrative-rich compositions.
Radžiūnaitė's paintings explore themes of foolishness and the shifting meanings of cultural symbols throughout history. By embracing ignorance, error, and the concept of foolishness as a deliberate creative strategy, she liberates herself from the need to adhere to the original or historical contexts of the images she revives. Her work challenges the possibility of accurately reconstructing the Middle Ages, questioning the limitations imposed by historical circumstances.
Through her ironic deconstruction of cultural continuity, Radžiūnaitė invites viewers to reflect on how past epochs continue to influence contemporary life, blurring the lines between past, present, and future.
Radžiūnaitė's paintings explore themes of foolishness and the shifting meanings of cultural symbols throughout history. By embracing ignorance, error, and the concept of foolishness as a deliberate creative strategy, she liberates herself from the need to adhere to the original or historical contexts of the images she revives. Her work challenges the possibility of accurately reconstructing the Middle Ages, questioning the limitations imposed by historical circumstances.
Through her ironic deconstruction of cultural continuity, Radžiūnaitė invites viewers to reflect on how past epochs continue to influence contemporary life, blurring the lines between past, present, and future.