The 3rd International Biennial of Contemporary Metal Art
In the year 2011, the first metal art biennial – "METALLOphone" took place in Vilnius. It was and still remains the only event of such kind in the entire Lithuania. The biennial presented the works of 25 participants from different countries around the world: Lithuania, Italy, Ireland, Germany, Israel, Slovakia and Romania. The artists were invited to discover yet unseen face of Vilnius through metal art by refusing both patterned visualization – symbols and images that are rooted in the traditions of Vilnius portrayal, and stereotypical view of metal art frequently associated with décor or jewelry. The artists tried to conceptually disclose the Vilnius topic by refusing traditional functionality.
The artists tried to conceptually disclose the Vilnius topic by refusing traditional functionality.
During the biennial, the artists presented certain details, findings and objects by choosing unconventional forms, unexpected material combinations and various processing techniques that through their prism relate to the city. Interestingly, the majority of the artists did not opt for grand, historically extensive though at the same time usual topics, they rather concentrated on the details that are noted very personally. Therefore, in this biennial, Vilnius was painted in interesting and unseen colors.
KATARINA SIPOSOVA (SLOVAKIA)
In my collection I present a set of brooches which allude to the metaphor of knot. The brooches, connecting two different perspectives and substances, consist of two parts. A metal cast knot represents the powerful past that gave the city its superb character and atmosphere. The original knot, made of fabric, has become hard and stiff after being cast in metal and can no longer be undone. In contrast against the symbol of the past, there stands a cotton rope, which is fully flexible and soft. Its open structure represents the new, changing vibe of Vilnius. In the both parts of the brooches I used the same material, the cotton rope, which became a pattern for metal casting and the basic substance for the soft part of the brooches.
GIGI MARIANI (ITALY)
It is more than twenty five years now that I have been a goldsmith in Modena, Italy. Since I was a young man, I’ve been interested and attracted to metals and it’s infinite potential, especially that of overlapping, oxidation, and sequences of layers. In my work, I try to transfer every day emotions into contemporary jewelry and unique pieces in a simple, informal and spontaneous way. This allows me to develop new situations and the art appreciators can derive feelings from these situations. My goal is to move from the concept of simple jewelry, to a larger concept of sculpture and art piece.
I use antique and unique goldsmith techniques, such as NIELLO and GRANULATION, personalizing them in order to distinguish my work from others. I work with precious metals combining them with other metals such as iron, copper and brass. My jewelry is usually finished by material textured, which hides to the naked eye the precious metals. As a painter uses his canvas to express his or her feelings, I use my jewelry as base for expressing mine.
HEIDEMARIE HERB (GERMANY)
My works are inspired by thoughts on the relationship between man and nature and expressive possibilities it offers: colors evoking feelings and thoughts, sounds, the life cycle from birth to death, mysteries and secrets in the world of nature. I like to awaken consciousness, to evoke thoughts and feelings, to try and destroy the superficiality and individualism prevalent in modern men and women. My works are here for you to look at, to experience, to make you think and share.
ROMUALDAS INCIRAUSKAS (LITHUANIA)
For the children of the post-war generation, which I belong to, the favorite theme of games was war and fighting, where „good guys“ struggled with „bad guys“. My keen childhood interest in making toy soldiers has lasted to a respectable age. Actually, the plasticine toy soldiers have now become bronze heroes representing the most crucial military campaigns which decided the fate of our nation. An artwork, with no clear-cut beginning, can be dated from 1954 to 2010.
REMIGIJA VAITKUTE (LITHUANIA)
Brass is a swashbuckling substance. Works made of it outlive their makers.
BIRUTE STULGAITE (LITHUANIA)
Continuously exploring the qualities of substances, the nature of the matter itself. In this case magnets show a considerable potential, which is power and mystery. Or the beauty of the rusty iron. To investigate for so long and so intensively that, in the result, the effort put forth would be unnoticeable. I think small forms can Express ideas as eloquently as the big ones. Spontaneous creativity – without any preconceived ideas of what could or should be there. Spontaneity is then followed by expediency.
GHEORGE ZAHARIA (ROMANIA)
The work ASCENSION is intended to be a symbol of the development of the city of Vilnius. The sculptural composition made of a polished stainless material embodied the bright rhythm that shapes the essence. On its turn, the composition sculpts the light, thus we watch, overwhelmed, the miracle of light, which it does not reverberate or capture. It uses it to float in space and let itself be polished in order to return to life in the light that generates the form and the spring of creative ascension.
VYTAUTAS MATULIONIS (LITHUANIA)
URI SHAPIRA (ISRAEL)
It could seem very arbitrary, but from some reason I have decided to name these specific kinds of growths as Vilnius circles, as I just discovered them through my experiments.
SARUNE VAITKUTE IR DAINIUS NARKUS (LITHUANIA)
We draw inspiration from decaying forms, the vanishing and appearing sharpness of edges that result from the lengthy contact of a flowing muddy water with a hard material. Random remnants, polished by time, become increasingly convex, similarly to cosmic bodies affected by gravity: forces of nature re-created and take human reality.
SANDRA MALASKEVICIUTE (LITHUANIA)
In the sun, glasses shine, everyone is truly fine.
KORNELIJA GERIKAITE IR EIMANTAS LUDAVICIUS (LITHUANIA)
A very clear and precise position has been taken in Lithuania. Therefore, in our lexicon a word "poker“ is always preceded by a word „sport“. In my country the sport poker is considered a sport. It has been recognized by the Sport Department and its rules are very clear. The first rule: it is not played for money. On no account should money be a part of the game. Therefore, poker can be played outside of casinos. It is not a gambling game. We can play it right here, in the club, or, if we wish, we can play it in spa, etc. (Andrius Tapinas)
A very clear and precise position has been taken in Lithuania. Therefore, in our lexicon a word „poker“ is always preceded by a word „art“. In my country the art poker is considered as art. It has been recognized by the Ministry of Culture and its rules are very clear. The first rule: it is not played for money. On no account should money be a part of the game. Therefore, the art poker can be played outside of galleries. It is not a gambling game. We can play it right here, in the studio, or, if we wish, we can play it in Maxima, etc. (E.L.)
VITA PUKSTAITE (LITHUANIA)
These are the object I come across most often as I circulate through the town. When the autumn approaches, they become places to stop in melancholy.
PATRICIA GURGEL-SEGRILO (IRELAND)
"Seen from above
And felt when pleasantly lost
In its cross roads, corners...
Wondering the streets.
"You are here“ says the city map,
This is where the heart is
And with all that it carries.“
LAIMA KERIENE (LITHUANIA)
Mother is seeing off the family of her son to a distant country. Her heart keeps vigil, sends prayer and blessings. Stories like that can happen in any era in any country, but each of them has a personal undertone, bears specific signs and leaves distinctive footprints. A lot of people pass through the Gates of Dawn in Vilnius.
JULIUS VAITKUS (LITHUANIA)
The work „Form“, with its intuitiveness, accidentalness and atectonic character, serves as a supplement to the pragmatism and rationality of the city.
AURELIJA SIMKUTE-ENDRIEKE (LITHUANIA)
Cozy hill, clinging delicately to the chosen spot of the land with a name from a dream. The most mysterious Vilnius is at night – calm, woven around by the ribbons of the river, with the rustling tops of trees, memories from the past, dreams of the future.
R. MENULIO KATINAS (LITHUANIA)
Millionaires and the homeless always reside in the old town... This is where all of us – from a gorgeous gentleman to a homeless cat – satisfy our thirst.
AVIVA SHEMER (ISRAEL)
A necklace the High Priest used to wear when people came to consult him. The letters were the answers to their questions.
SERGIO FIGAR (ITALY)
I guess the city of Vilnius as my jewelry: Preserving the idea‘s indwelling light, through the delicate process of transforming the raw materials into jewel, without dispelling the idea‘s own aura, has never been as easy mission to accomplish for any artisan goldsmith, even if the technical procedure is actually quite simple. The feature of interchangeability of the complementary elements composing these jewels, obtained by using integrated magnets, leads to a metamorphosis of the jewel itself, allowing her user to interact with it, while entering a playful-creative perspective which has, in our opinion, even a therapeutic purpose.
TADAS DEKSNYS (LITHUANIA)
When night comes, Vilnius changes, fills with mystery and one
can enjoy vision and experiences.