The exhibition “Calendar of Marta” by Marta Vosyliūtė was held at Vilnius Town Hall from May 31 to July 1, 2023.
Curator Skaidra Trilupaitytė describes the exhibition:
In celebration of the 700th anniversary of the capital, Marta Vosyliūtė conceived a spatial game—a puzzle of her personal urban “fetishes” within the interior space. The calendar itself, published at the end of 2021, can be interpreted as a preview of the current exhibition, viewed within the context of a long-standing tradition of Vilnius art. For instance, in the history of Lithuanian culture and art, Vilnius albums are known, especially those that were popular at the end of the 19th century and the beginning of the 20th century. Literature and essays frequently mention the names of Vilnius, and historians have traced the exotic traces of the lost city.
M. Vosyliūtė, known for her painting, objects, scenography, and textiles, has for decades carefully observed her favorite districts and documented the processes of urban change. In her portrayal of Vilnius, we see not the classic representational images of castles, cathedrals, and old town towers, but less conventional spaces: the diagonally sketched windows of the Prosecutor’s Office—like cracks in time—and the station, the former Žalgiris Stadium, or the old Kalvarijų Market area illuminated in all the colors of the rainbow.
Here, the sellers of pickled cabbage (according to Marta, eternal Vilnians) are exalted, the “VEKS capsule” turns into a headless figure, and reflections of “big money” generated in mirrored skyscraper offices shimmer at the bend of the river dividing the city. The urban décor of Marta is transferred to Vilnius-style dresses and expands into a canvas bag. On it “hangs” the now-historic Railway Hook.
The artist likes to joke and intentionally distorts the usual romantic city landscape genre, enjoying the transformation of significant contemporary monuments into endless ornaments on some banal material. Repetitions and puzzles in space and on surfaces take on different configurations each time—on textile, even the famous Pipe becomes pure decoration. Majestic objects created by male artists are downplayed but still recognizable as architectural or sculptural monuments that sparked intense political discussions.
The artist arbitrarily enlarges, reduces, or vividly colors selected images and sayings, turning them into amusing cityscapes and anti-sculptures. She then winks at the viewers from a photographic self-portrait, playfully waving her hand. The anti-tourist “Marta-style” postcards also function as markers of seasonal change or a city’s color playlist. Regardless of how one views it, all traditional solemnity is drained from this celebratory round anniversary—the irregular calendar years are infused with playfulness and sarcasm by Marta. In this way, she injects sparks of laughter into the serious interior of the Town Hall. After all, this Vilnius artist ultimately dedicates the exhibition to those with whom she laughed.
Photos by Vytas Nomadas
