SHORT BIO

Arturas Bukauskas is a Doctor of Arts and an Associate Professor at the Department of Photography, Animation, and Media Arts, Vilnius Academy of Arts. His background is in documentary film directing. His artistic interests include the intersections of living and non-living entities within societal constructs, along with their corresponding concepts and transformations. He works with experimental forms of the moving image and explores the interactions between text and image. He investigates the aesthetic and conceptual expressiveness of technology-based art, with a particular research focus on the phenomenon of animation.

EDUCATION

Vilnius Academy of Arts
Phd of Art

VGIK, Russian Academy of Cinema (Всероссийский Государственный Институт Кинематографии)
M.A., Department of film directing, documentary film directing
V. Kobrin’s class

Vilnius University
M.A., Faculty of Physics, Radiophysics

WORK EXPERIENCE

"ALTERNATIVE SCREEN" film studio
Screenwriter, film director

Animation department, Lithuanian Film Studio
Film director, screenwriter, animator

TEACHING EXPERIENCE

Vilniaus Academy of Art
Department of Photography and Media Arts
Associate Professor

Lithuanian Academy Of Music And Theatre
Faculty of theatre and film
Lecturer⠀⠀⠀⠀⠀⠀⠀⠀⠀


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"Unbind him and let him go"
Feb. 15 - Mar. 9, 2024
TITANIKAS Galery

Photo documentation

Imagine that an as yet unknown technology enables us to resurrect anything: any being, any age, any state of the world. Knowledge of the fundamental physical and metaphysical laws as well as comprehensive data on the evolution of the universe until this point should allow a precise reconstruction of any process of emergence or disappearance that constituted it. Animating unlived time and decomposed space, at least as a projection or simulation, has become a shared fantasy, a readily recognisable register of moving and still images. The ultimate expression of our representational curiosity; what beguiles us most is not what mechanical image recording devices can or could capture, but what took place before their invention (in other words, not in our habitual reality). Bringing that back to life requires an algorithm – a text in the broadest sense, a prompt describing what we desire to see. Hence, image becomes arbitrary and abstract, no matter what its particular content is. The essential thing is that such an image is possible in principle, even if no consciousness presently alive has ever seen it with its own eyes, and its source or prototype is unidentifiable. Just like sound, image can be acousmatic, emanating from an invisible source – from a sinkhole, a cavity, from beneath the surface, among the debris of what once was. What we see and hear is inevitably ghostlike. The image is finally unbound, unwrapped from the shroud of spacetime, empowered to rise from the catacomb and go in any direction. It has ceased to refer to anything conventionally perceived as real, but it is alive in an as yet unfamiliar sense, because someone recognised it as such. Yet no resurrection happens without entropy and danger to its witness. What comes back is not exactly the same as what was intended to be reanimated, if not its absolute opposite – an otherworldly entity that refuses to return to the ground and threatens the integrity of the viewer’s self-consciousness. Even with this risk in mind, though, the power to unbind (image, sound, gaze, time) and let go is too tempting. That is when they come to life and begin to rush to the surface – or inside. The viewer can only let themselves be devoured and see where it leads.

Text: Jurij Dobriakov
Architecture: Mindaugas Reklaitis
Sound: Benas Buivydas

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 |_   _| | | | ____/ ___|| ____| | | / ___|  |  _ \| |      / \  | \ | | ____|    
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   | | |  _  | |___ ___) | |___| |_| |___) | |  __/| |___ / ___ \| |\  | |___     
   |_| |_| |_|_____|____/|_____|\___/|____/  |_|   |_____/_/   \_\_| \_|_____|

SPARE PARTS FOR THESEUS PLANE
Arturas Bukauskas
2023

In 1933, aviators Darius and Girėnas flew from New York to Kaunas. They flew a modified experimental aircraft named Lituanica. They wanted to make Lithuania famous with this flight. The plane crashed in Germany, just a short distance from its destination. The bodies of the aviators were embalmed and kept in a mausoleum. When the war started, they were hidden in the wall of the Kaunas Medical Institute. After the war, nothing was known about their hiding place. Thirty years after the air crash, the grown-up daughter of one of the aviators, now a doctor, used her percussion method to search for cavities in the walls. That's how she found her father.

This exhibition is the third and final of a composition of three exhibitions. The series of exhibitions based on the principle of Theseus's ship (plane) deals with the question of the continuity of the body and memory.

In the third exhibition, the same parts, understood both as spare parts and as wrecks, are described and multiplied by means of prompt engineering (human language for machines). One could say that the works remain "behind and after" all three exhibitions because, according to Theseus' paradox, they find and pass into each other, animate, and become unnameable as they come to life. They are neither the fragments of a plane, nor the parts, nor the bodies of pilots. The catastrophe has not happened, it has only been approached, only the rough connections between the still falling parts and the human body that has reached the limit of time are observed.

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Ersatzteile für das Schiff des Theseus?
Arturas Bukauskas
2022

Zu sehen ist außerdem die Arbeit Ersatzteile für das Schiff von Theseus (2022) von Arturas Bukauskas. In seiner 3D-Hologramm- und Videoinstallation denkt der Künstler darüber nach, wie Körperbewegungen und Handlungen durch neue Technologien beeinflusst werden.

Auf mehreren Monitoren sind abstrakte Oberflächen in Bewegung zu sehen, die sich scheinbar im Widerstreit befinden. Dazu zeigen drei 3D-Hologramme Worte, die von einer künstlichen Intelligenz generiert wurden. Es handelt sich um Wortneuschöpfungen für menschliche Tätigen, die es noch nicht gibt und die vielleicht erst in Zukunft durch neue Erfindungen möglich sein werden.

Die Installation fragt, ob wir durch zukünftige Werkzeuge bald Tätigkeiten verrichten können, die uns heute noch unmöglich, gar paradox erscheinen.

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"EILUTĖ BĖGANTI ABIPUS JŪROS LYGIO"
Paroda susideda yra dviejų dalių. Viena instaliuota Artifex galerijoje, kita, šiek tiek vėliau - Vokietijoje, laivų lifto industriniame muziejuje, Henrichenburge.

Bukauskas:
Tesėjo laivas ir lėktuvas. Tesėjo laivo paradokso klausimas - ar palaipsniui keičiant dalis, jis išlieka tuo pačiu laivu. Tesėjo lėktuvas - tai objektas, kurio dalys buvo pakeistos ant žemės, po to ore, kritimo metu, po to vėl ant žemės - daug kartu perinstaliuojant katastrofos vietą, kuriant lakūnų iškamšas. Kyla klausimas, ar mes esame to lėktuvo dalis, ir gal būt jau pakeista. Kaip persiskirsto atminties funkcijos nustojančiame veikti kūne? Kaip veikia atmintis, reorganizuodama tas funkcijas judesiuose? Ar išoriniu veiksmu galima sukurti bendrą prisiminimą? Katastrofa nuolat įdaiktinama judesiais, o kiekvienas pajudintas daiktas yra projekcija į katastrofą. Parodoje išnaudojami kūnai(kaip defragmentuojamos kompiuterinės laikmenos), nebesipriešinantys nei žvilgsniui, nei išoriniam norui jais rūpinti. Kūnai kaip pakeičiamų dalių visuma. Kūnai kurie pajudinti primena nepabaigtų veiksmų galimybę. Tiesos klausimas nebeaktualus, nes tikrovė nebėra nusistovėjusi ties kūno pojūčiais. Parodoje perklausiama šiuolaikinio menininko pozicija taip pat nebėra jokio kūno pozicija - jis atėjo į parduotuvę ir užmiršo ko norėjo. Jis atėjo nukopijuoti pirkimo veiksmų, apsimesti veikiąs prieš juos, politiškai ir socialiai aktyvus - ir sustingo. Žiūrovas kviečiamas būti to liudininku ir kartu laikinti(lietuviškas žodis reikšiantis taptisu laiku nebereikalingu, nenaudojamu). Keli veiksmai tebelieka aktualūs. “Bet ar tikrai tu moki elgtis su šaukštu?”

Šarapovas:
Taktilinės atminties forma - garsas - tuo pat metu labaireali, apčiuopiama, tačiau ir savaip vaiduokliška būtosios tikrovės manifestacija. Garsą galima padalinti iš dviejų - A. žemesnieji žmogaus juslėms pažinios garsinio spektro dalies dažniai patiriami labiau kaip banga (sklinda visakryptiškai(omnidirectional)), B. aukštesniojispektro dalis, patiriama kaip spindulys (sklinda siaura kryptimi). Arba iš trijų - trys bazinės garso raidos fazės - 1. pirminis impulsas, vibraciją sukeliantis nutikimas (kata-strofa - kata (κατά) prieš, strepho (στρέφω) suku, sen. Gr.); 2. oro molekulių judėjimas (mare-memoria - atminties jūra) skysčiuose, dujose bei kietuose kūnuose; 3. patiriančiojo sensorikos beismegenų suformuota molekulių judėjimo traktuotė momentiškaisuvokiama kaip dabar.
Arba iš maždaug trijų šimtų keturiasdešimt trijų - tiek metrų tęsiasi garsinės bangos ciklas (1Hz) ore, trunkantis vieną sekundę, esant 20 laipsnių Celsijaus bei vidutiniam sąlyginiam drėgnumui, ties jūros lygiu.

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Arturas Bukauskas baigė dokumentinio kino režisūrą Rusijos valstybiniame kino institute (VGIK), šiuo metu yra Vilniaus dailės akademijos Fotografijos, animacijos ir medijos meno katedros docentas. Savo interesų lauką trumpai apibūdina kaip judančio vaizdo tyrimus išplėstinėje realybėje, todėl vizualiniams eksperimentams naudoja įvairius įrankius - 360 video, animaciją, VR.

1

Andrius Šarapovas - menininkas dirbantis su garsu bei kitomis virpesių formomis, yra sukūręs kinetinių instaliacijų, garso objektų, kinetinių-akustinių bei elektroakustinių generatyvinės muzikos kompozicijų, garso takelių kinui, teatrui, animacijai; studijavo skulptūrą Izraelyje, parodose dalyvauja nuo 2003.

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