Exhibition
A Post-Conceptual Art Exhibition by Tomas Lagūnavičius
“IRRELEVANT — IMPORTANT”
Tomas Lagūnavičius: An Exhibition of Postconceptual Art
Kaunas Contemporary Art and Science Center (KSJMC)
Exhibition dates: 7 October 2026–21 October 2026
Sandėlių g. 7, Kaunas, Lithuania
When Art Begins to Ask Not About Itself, but About Us
“IRRELEVANT — IMPORTANT” is an exhibition by multidisciplinary artist Tomas Lagūnavičius, presenting his developing concept and practice of postconceptual art. At the heart of the exhibition lies the encounter between two categories that initially appear to be opposites: IRRELEVANT and IMPORTANT.
However, this encounter is not a simple opposition.
It is a mechanism of thought.
Here, IRRELEVANT does not mean “without value.”
IMPORTANT does not mean “the ultimate truth.”
Between these two poles emerges a third category: DO.
The exhibition’s central formula is therefore:
IRRELEVANT → IMPORTANT → DO
This formula defines not only the textual structure of individual works but also the broader methodology of Tomas Lagūnavičius’s postconceptual art.
The artist invites viewers not to accept an artwork’s meaning as something already established, but to participate in its creation, questioning, and transformation.
INSTABILITY OF PERCEPTION
The Epistemology of Cognitive Immersive Art
On October 6, 2026, the exhibition “Instability of Perception”, intended for employees, opened at Danske Bank Lithuania as part of the bank’s internal event “GenAI Week 2026.” During the opening of the exhibition, artist Tomas Lagūnavičius, a representative of the Contemporary Art and Science Center at KSJMC, delivered a presentation entitled “The Contemporary Art Market and Trends,” thus expanding the exhibition’s subject matter from aesthetic perception to the contemporary art market, technology, and the transformations brought about by generative artificial intelligence.
The theoretical foundation of the exhibition is associated with the concept of cognitive immersive art, in which a work of art is understood not merely as a visual object, but also as a cognitive event. In this case, what matters is not only what the viewer sees, but also what takes place in their consciousness while they are looking.
The central question of the exhibition can be formulated as follows: Do we see what is, or what our perception allows us to see?
Perception as Construction
Phenomenological philosophy, particularly the works of Maurice Merleau-Ponty, demonstrated that perception is not a passive reception of information. A person is not a neutral observer – they are always involved in the world through their body, experience, and consciousness.
Therefore, a work of art is not merely what physically exists before the viewer. Its meaning emerges in the encounter between the work and the perceiving subject.
John Berger, in his analysis of the culture of looking, emphasized that our vision is determined not only by what is before our eyes, but also by what we know and what we believe. This idea is particularly important in the context of “Instability of Perception”: the same image may create different meanings for different people, while the same person may perceive the same work differently at different times.
Therefore: The image may be stable, but its perception is not.
This principle becomes one of the essential aesthetic and epistemological premises of the exhibition.
From the Art Object to the Process of Perception
In the traditional understanding of art, primary attention is often given to the work as an object: its form, color, composition, material, iconography, or the artist’s intention.
Cognitive immersive art proposes a different perspective. Here, the process of perception itself becomes important.
The viewer is not a passive recipient of information from the artwork. They become an active participant in its interpretation. Their memory, emotions, associations, cultural experience, and individual perspective all participate in creating the meaning of the work.
Therefore, a work of art can be described as a kind of cognitive stimulus.
It does not merely show.
It provokes:
to recognize, perceive, interpret, doubt, and act.
From this perspective, a work of art becomes not a closed meaning, but an open system.
The Viewer as Part of the Artwork
“Instability of Perception” also raises a question about the viewer themselves. If perception is not stable, then the perceiving subject is not stable either.
A person can be a different observer in different situations. Their relationship with the same work is altered by mood, previous experience, knowledge, environment, and the particular historical moment.
Therefore, a work of cognitive immersive art can be understood as a kind of mirror of consciousness.
When looking at a work, a person encounters not only an image, but also their own way of interpreting it.
In this sense, the exhibition becomes not merely an art exposition, but also a situation of self-discovery.
Generative AI and the New Art Situation
The presentation of the exhibition at the bank’s “GenAI Week 2026” event gives it additional relevance. Generative artificial intelligence is fundamentally changing concepts of image creation, authorship, and art production.
If algorithms can generate a virtually unlimited number of images, the question arises: What makes a work of art valuable in the 21st century?
Is it the technical complexity of the image?
Is it its originality?
Is it the artist’s name?
Is it the idea?
Or is it the experience that the work creates?
Walter Benjamin, in his analysis of the impact of mechanical reproduction on art, spoke about the “aura” of the work of art – its unique presence in a particular place and time. In the era of generative AI, this issue acquires a new dimension: when an image can be created and reproduced almost without limit, what may become increasingly significant is not merely the image itself, but the unique encounter with it.
Thus, the value of art may shift from the object toward experience and meaning.
The Art Market and the Economy of Meaning
Tomas Lagūnavičius’s presentation “The Contemporary Art Market and Trends” extends this issue into the field of art economics.
In the contemporary art system, the value of a work is determined not only by the material object. Context, the artist’s position, institutional recognition, discourse, technology, and the ability to create a new cultural problem become significant.
Therefore, in the era of generative AI, the very role of the artist may also be changing.
The artist is increasingly becoming not only a creator of images, but also:
a creator of ideas,
a designer of systems,
an organizer of experiences,
a formulator of questions,
a director of perception.
This is particularly close to the logic of cognitive immersive art.
Conclusion
“Instability of Perception” proposes viewing art not as a collection of static objects, but as a continuously unfolding process of perception.
The philosophical structure of the exhibition can be expressed in four steps:
Look.
Doubt what you see.
Recognize your own perception.
Create another meaning.
Therefore, from the perspective of cognitive immersive art, a work of art is not merely what exists before the viewer. It is what happens between the work and the viewer’s consciousness.
The exhibition’s final thesis can be formulated as follows:
A work is not merely what you see.
A work is what happens to you when you look.
In this sense, “Instability of Perception” becomes not only the title of an exhibition, but also a philosophical program – an invitation to question the stability of one’s own perception, to rethink one’s relationship with the image, and to recognize that a work of contemporary art increasingly exists not only in a material object, but also within human consciousness.
According to Tomas Lagūnavičius, business and learning through the use of artificial intelligence open up new opportunities.
Contemporary Art and Science Center at KSJMC
TOMAS LAGŪNAVIČIUS EXHIBITION
TEXT THAT BECOMES IMAGE
THE WORLD'S FIRST IMMERSIVE TEXT ART EXHIBITION, NOW IN VILNIUS
We warmly invite everyone to visit the gallery–museum at Visų Šventųjų St. 5-2, Vilnius.
Exhibition author – artist Tomas Lagūnavičius.
Exhibition dates: from June 26, 2026, to July 26, 2026.
In the past decade, Vilnius has become one of the most prominent contemporary art centres in the Baltic region. The art galleries operating here consistently present international projects that explore new forms of art, the viewer’s experience, and the problems of contemporary society. Recent exhibitions are increasingly oriented not toward the contemplation of the art object, but toward involving the viewer in an active process of interpretation.
In this context, the upcoming Text Immersive Art exhibition in Vilnius at the Tomo Lagūnavičius gallery-museum acquires not only artistic but also philosophical significance. It invites us to rethink the very concept of the painting and asks whether painting today can be understood as text, and text as a visual experience.
Between painting and philosophy
Since Antiquity, Western aesthetics has separated image and word. One was associated with vision, the other with thought. However, 20th-century conceptual art began to erode this boundary. Text became a means of artistic expression, and language became not only a tool for description but also for creation.
The idea of text-based immersive art continues this tradition in a new direction. Here, the word is not an explanation beside the painting. It becomes the painting itself.
Letters, sentences, philosophical concepts, and fragmented narratives form a visual composition in which colour, form, and language function as equal aesthetic elements.
The viewer becomes a reader
The works in this exhibition do not offer a single correct way of seeing.
On the contrary, each painting requires time.
Looking gradually turns into reading, and reading into interpretation.
This means that the artwork does not exist as a completed form. It is born in the consciousness of each visitor.
In this sense, text-based immersive art is close to Umberto Eco’s concept of the “open work,” according to which a work of art is not a fixed meaning but a field of interpretative possibilities. At the same time, it resonates with Jacques Derrida’s idea that meaning is constantly deferred and never fully complete.
Immersion without screens
Today, the term “immersive art” is most often associated with projections, artificial intelligence, or virtual reality technologies. However, this exhibition proposes a different path.
Here, immersion is created not by technology, but by language.
It is not projections, but layers of text that draw the viewer into the process of thinking.
Each sentence becomes a visual sign, each phrase a part of an aesthetic composition. In this way, the painting acquires not only material but also intellectual depth.
Vilnius as a space of cultural dialogue
Vilnius is increasingly presented as a city where contemporary art develops in dialogue with history, urban memory, and international ideas. Recent exhibitions emphasize phenomenological viewer experience, multilayered narrative, and conceptual artistic practices.
Therefore, the Text Immersive Art exhibition naturally integrates into this cultural context. It does not aim to illustrate the world, but to reconsider our relationship with language, memory, and the very act of seeing.
Philosophical horizon
One of the central questions of this exhibition is: what is a painting today?
If text can become image, and image a form of philosophical thinking, then the ontology of art itself changes.
A painting no longer represents reality.
It creates the conditions for reality to emerge in the viewer’s consciousness.
From a phenomenological perspective, such a work is not an object observed from the outside. It becomes an event in which we participate. The viewer is no longer a consumer or passive observer, but an active co-creator of meaning.
A new aesthetic paradigm
The Text Immersive Art exhibition in Vilnius can be understood as an attempt to expand the boundaries of contemporary painting. It invites us to abandon the usual question: “What does this painting depict?” and instead ask: “What space of thought does it create?”
This shift changes not only the viewer’s relationship with the work but also the very concept of aesthetics. Beauty here is no longer only a visual category—it becomes a form of intellectual experience.
Instead of an ending
The upcoming First Ever Text Immersive Art Exhibition in Vilnius at the Tomo Lagūnavičius gallery-museum invites a slower and deeper relationship with art. It reminds us that text can be not only read but also seen, and a painting not only seen but also thought.
This exhibition offers not ready-made answers but an open space of interpretation in which each visitor becomes not only a viewer but also the author of their own reading and thinking. It is precisely in this encounter between word, image, and consciousness that the possibility emerges to understand contemporary art anew—not as the delivery of a single truth, but as the creation of a space in which meaning is continuously born from the dialogue between artwork and human being.
BEFORE: That Which Has Not Yet Happened, Yet Already Acts
BEFORE: The Aesthetics of the Threshold, the Ontology of Waiting, and the Tension of the Image
Performance and Exhibition Opening
June 6, 2026, 10:00 a.m.
Visų Šventųjų g. 5–2, Vilnius
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BEFORE: That Which Has Not Yet Happened, Yet Already Acts
Human experience is most often described through what has already happened. History, memory, documents, and testimony all belong to the post-factual condition—to that which has already become reality. Yet there exists another, no less significant territory of human existence: the state of before. Before a decision. Before a word. Before an action. Before a catastrophe. Before love. Before farewell. Before a beginning.
The exhibition BEFORE turns precisely toward this elusive zone of time and consciousness. It is not a narrative about an event. Rather, it is an exploration of what takes place before the event—where no clear form yet exists, but where tension, direction, possibility, and intuition are already present.
The works in this exhibition reject excessive visual rhetoric. They operate economically, minimally, and universally. There is no attempt to illustrate a specific story or provide a closed interpretation. On the contrary, the works are constructed as open structures of meaning in which the viewer encounters not an answer, but a state of being.
Minimal forms, restrained signs, and visual silence become not demonstrations of aesthetic asceticism, but philosophical positions. The less visual noise there is, the more vividly the very substance of waiting emerges.
The Phenomenology of the Threshold
“Before” is not merely an adverb of time. Philosophically, it is a liminal state.
Within the phenomenological tradition, human consciousness is always directed toward what is approaching. The present is never entirely closed; it is permeated by expectations, fears, hopes, and projections. Therefore, “before” can be understood as a unique existential field in which the future already acts upon the present, even though it has not yet become a fact.
The works in this exhibition explore precisely this paradox. We encounter not an action, but its possibility. Not a result, but its shadow. Not an answer, but the formation of a question.
Such a relationship to the image creates a distinctive aesthetic tension. The viewer constantly finds themselves between recognition and indeterminacy. The forms appear familiar, yet their meanings remain open. The image becomes not a representation but an event of thought.
Emptiness as an Active Structure
Contemporary visual culture is dominated by the logic of excess. The abundance of images often diminishes their impact. Consequently, the minimalist strategy adopted by the exhibition BEFORE may be understood as a form of resistance to visual inflation.
Here, emptiness is not a deficiency. It functions as an active structure.
Just as silence in music allows sound to be heard, so in these works what remains unspoken allows thought to emerge. The spaces between forms become as significant as the forms themselves. The image operates not through what it displays, but through what it withholds.
This withholding is precisely the aesthetics of before.
It is an aesthetic in which meaning is not presented but deferred. Not completed, but continuously created within the viewer’s consciousness.
The Openness of Interpretation
One of the exhibition’s most important principles is interpretative freedom.
The works do not seek to dictate a single mode of reading. They deliberately leave room for the viewer’s experience, biography, cultural memory, and personal associations. Consequently, “before” reveals itself differently to each individual.
For one person, it may be a moment of personal decision-making. For another, an anticipation of social upheaval. For a third, an existential pause between past and future.
This diversity of interpretation is not a side effect. It constitutes the very essence of the project. The exhibition does not seek to speak on behalf of the viewer. It invites them to become an active co-creator of meaning.
Performance as an Act of Transition
The performance accompanying the exhibition opening extends and expands the conceptual trajectory developed within the exhibition.
Here, performance is understood not as an illustration of or commentary on the artworks, but as a lived experience of a liminal state. It is an action occurring between the not yet and the already. Between potentiality and actuality. Between thought and its materialisation.
Unlike an object, a performance exists only in the moment of its enactment. It continuously disappears even as it unfolds. Thus, performative action becomes an ideal metaphor for the state of before—a continual transformation that cannot be halted or permanently fixed.
On the morning of the opening, visitors will be invited not merely to observe, but to participate in a shared experience of waiting, attention, and mindful presence.
Ethics Before Action
The relevance of the exhibition BEFORE lies not only on an aesthetic or philosophical level. In today’s world, dominated by speed, reaction, and immediate response, before also becomes an ethical category:
A call to pause before deciding.
To listen before speaking.
To see before judging.
To think before acting.
From this perspective, before becomes not a sign of passivity, but a form of mature consciousness. It is the space in which responsibility is born.
An Open Beginning
The exhibition BEFORE is neither about the past nor about the future. It speaks of the fragile threshold between them—of the moment when the world may still turn in various directions.
An economical visual language, minimalist forms, subtle aesthetic tension, and conceptual precision come together here to create a unified field of reflection. The viewer is invited not to consume the image, but to dwell within it.
Because sometimes what matters most is not what has happened.
What matters most is what happens before.
“Radical Changes”
On April 17, 2026, in Vilnius, at the gallery-museum of interdisciplinary artist Tomas Lagūnavičius, the exhibition “Radical Changes” was opened.
The author of the exhibition is the artist Tomas Lagūnavičius.
The exhibition will run: from April 17, 2026 to May 10.
Working hours: Friday – 18:00–21:00, Saturday – 10:00–18:00
Admission: FREE
You are kindly invited to visit the gallery-museum at Visų Šventųjų St. 5-2, Vilnius.
About the exhibition:
"Radical Changes" is a contemporary art exhibition inviting the viewer to rethink the world we live in and our place within it. It is not just an exposition, but an experience that opens doors to a constantly changing reality, where old structures collapse and new ones are still forming.
The exhibition presents post-conceptual paintings. Each work reflects a different aspect of change: technological progress, social shifts, ecological crises, or internal human transformations. It is a dialogue between the past, the present, and an undefined future.
"Radical Changes" raises questions: does change always mean progress? How do we adapt to a rapidly changing environment? What do we lose and what do we discover in this transformation? Visitors are invited not only to observe but to reflect, engage, and become part of this process.
This exhibition is a space for different ideas, experiences, and perspectives to meet. It provokes, inspires, and sometimes even disturbs, but it is through these sensations that the true essence of change is revealed.
About the artist:
ARTIST NO. 1:
• Most paintings in museums and galleries around the world
• Most paintings created in the world
• Founder of the first generative art gallery-museum in the Baltic States
Tomas Lagūnavičius is a renowned multidisciplinary and mixed media artist living in Kaunas, Lithuania, whose work encompasses both visual and performing arts. In 2025, he was officially recognized as the world record holder for the number of paintings created (6,264 works) and the number of works inventoried in museums and public galleries (5,522 works). His creative journey began in 2013 when his first painting was accepted into the South Korean Art Museum. Since then, the artist has been constantly creating, participating in international exhibitions and biennials, and actively involved in the art world. Throughout his impressive career, he has held more than 40 solo exhibitions and over 50 performances, revealing his multifaceted talents and dynamic approach to art. Participation in international exhibitions and biennials, such as the prestigious 13th Florence Biennale in Italy (2021) and the Earth Art Exhibition "Balance" in Vilnius (2021), has earned him international recognition. His latest works were exhibited at the 15th annual art exhibition "Abstracts" (USA), where the artist won 5th place. He has won numerous competitions: his works won 1st and 5th place in the Spring Countdown Show competition in Toronto (Canada), 2nd place in the Fusion Art competition "Animal Kingdom" in Santa Fe (New Mexico), 3rd place in the virtual exhibition "Light of Love" in Beijing (China), and a platinum award at the exhibition "Abstracts" organized by the J Mane Gallery (New Jersey, USA). Tomas Lagūnavičius performed Dead Soldier's Dance at the Crude Saturdays festival in Brussels (Belgium) and the Contemporary Venice festival in Venice (Italy). The artist regularly exhibits his paintings in various galleries in different countries: Boomer Gallery (London, England), Artly Mix Gallery (São Paulo, Brazil), Artio Gallery (Toronto, Canada), Collect Art (CoA) Gallery (Tbilisi, Georgia), and others. Tomas Lagūnavičius is an active member of numerous art associations: the Association of Visual Artists (AVA), the International Network for Contemporary Performing Arts (IETM), the Association of Performing Arts Professionals (APAP), the International Association of Visual Artists (IAVA), the National Association of Visual Artists (NAVA), Society of Directors and Choreographers (SDC), Latin American Art Association (ALAA), Visual Arts Creators Association (VVA), and Visual Arts Network of South Africa (VANSA).
“ARE YOU READY FOR CHANGE?”
The Contemporary Art and Science Center shares the news!
Exhibition “ARE YOU READY FOR CHANGE?”
The curator and author of the exhibition is artist Tomas Lagūnavičius.
EXHIBITION OPENING: April 2, 2026, 11:00 AM
Address: Sandėlių St. 7, Kaunas
Exhibition dates:
April 2, 2026 – April 20, 2026
The world has changed radically, and we must adapt to it quickly.
In this exhibition, visitors will encounter questions within the artworks—questions they must answer for themselves. These reflections will help reveal whether you are truly prepared for the new era that is emerging.
Come and test yourself: are you really ready for these changes, or does it only seem that way?
The most important skill is learning how to anticipate. If you cannot foresee what lies ahead, you may find yourself in difficult situations.
Challenge yourself. And once you find your answers, you may need to decide how to move forward in order to avoid those situations.
This exhibition is intended for both adults and young people who seek to anticipate, plan their future, and make meaningful changes in their lives and careers.
About the artist:
ARTIST NO. 1:
• Most paintings in museums and galleries around the world
• Most paintings created in the world
• Founder of the first generative art gallery-museum in the Baltic States
Tomas Lagūnavičius is a renowned multidisciplinary and mixed media artist living in Kaunas, Lithuania, whose work encompasses both visual and performing arts. In 2025, he was officially recognized as the world record holder for the number of paintings created (6,264 works) and the number of works inventoried in museums and public galleries (5,522 works). His creative journey began in 2013 when his first painting was accepted into the South Korean Art Museum. Since then, the artist has been constantly creating, participating in international exhibitions and biennials, and actively involved in the art world. Throughout his impressive career, he has held more than 40 solo exhibitions and over 50 performances, revealing his multifaceted talents and dynamic approach to art. Participation in international exhibitions and biennials, such as the prestigious 13th Florence Biennale in Italy (2021) and the Earth Art Exhibition "Balance" in Vilnius (2021), has earned him international recognition. His latest works were exhibited at the 15th annual art exhibition "Abstracts" (USA), where the artist won 5th place. He has won numerous competitions: his works won 1st and 5th place in the Spring Countdown Show competition in Toronto (Canada), 2nd place in the Fusion Art competition "Animal Kingdom" in Santa Fe (New Mexico), 3rd place in the virtual exhibition "Light of Love" in Beijing (China), and a platinum award at the exhibition "Abstracts" organized by the J Mane Gallery (New Jersey, USA). Tomas Lagūnavičius performed Dead Soldier's Dance at the Crude Saturdays festival in Brussels (Belgium) and the Contemporary Venice festival in Venice (Italy). The artist regularly exhibits his paintings in various galleries in different countries: Boomer Gallery (London, England), Artly Mix Gallery (São Paulo, Brazil), Artio Gallery (Toronto, Canada), Collect Art (CoA) Gallery (Tbilisi, Georgia), and others. Tomas Lagūnavičius is an active member of numerous art associations: the Association of Visual Artists (AVA), the International Network for Contemporary Performing Arts (IETM), the Association of Performing Arts Professionals (APAP), the International Association of Visual Artists (IAVA), the National Association of Visual Artists (NAVA), Society of Directors and Choreographers (SDC), Latin American Art Association (ALAA), Visual Arts Creators Association (VVA), and Visual Arts Network of South Africa (VANSA).
Exhibition “Useless Humans?!”
In Vilnius, at the gallery–museum of interdisciplinary artist Tomas Lagūnavičius, the exhibition “Useless Humans?!” will be presented.
We warmly invite everyone to visit the gallery–museum at Visų Šventųjų St. 5-2, Vilnius.
EXHIBITION OPENING: March 27, 2026, at 6:00 PM
Exhibition dates: March 27, 2026 – April 11, 2026
Opening hours: Friday – 6:00 PM–9:00 PM, Saturday – 10:00 AM–6:00 PM
Admission: FREE
Curator and author of the exhibition: artist Tomas Lagūnavičius
The 21st century may become the first period in human history when human intellect loses its economic monopoly. While previous technological revolutions replaced human muscle, the artificial intelligence revolution is transforming the very status of the human mind. This is not merely a transformation of the labor market — it is an ontological crisis.
The concept of the “useless humans” does not imply biological extinction. Rather, it refers to social, economic, and ultimately existential marginalization. A person may remain alive, yet lose their civilizational function. Such a condition was already anticipated by 19th-century philosophers, but only now is it acquiring a technological foundation.
As machines begin to create texts, medicines, laws, and even strategies, the role of the human being changes — from creator to observer. This raises a fundamental question: has value in civilization always been tied to usefulness?
If so — the era of humanity is approaching its end.
If not — a new philosophy is beginning.
About the artist:
ARTIST NO. 1:
• Most paintings in museums and galleries around the world
• Most paintings created in the world
• Founder of the first generative art gallery-museum in the Baltic States
Tomas Lagūnavičius is a renowned multidisciplinary and mixed media artist living in Kaunas, Lithuania, whose work encompasses both visual and performing arts. In 2025, he was officially recognized as the world record holder for the number of paintings created (6,264 works) and the number of works inventoried in museums and public galleries (5,522 works). His creative journey began in 2013 when his first painting was accepted into the South Korean Art Museum. Since then, the artist has been constantly creating, participating in international exhibitions and biennials, and actively involved in the art world. Throughout his impressive career, he has held more than 40 solo exhibitions and over 50 performances, revealing his multifaceted talents and dynamic approach to art. Participation in international exhibitions and biennials, such as the prestigious 13th Florence Biennale in Italy (2021) and the Earth Art Exhibition "Balance" in Vilnius (2021), has earned him international recognition. His latest works were exhibited at the 15th annual art exhibition "Abstracts" (USA), where the artist won 5th place. He has won numerous competitions: his works won 1st and 5th place in the Spring Countdown Show competition in Toronto (Canada), 2nd place in the Fusion Art competition "Animal Kingdom" in Santa Fe (New Mexico), 3rd place in the virtual exhibition "Light of Love" in Beijing (China), and a platinum award at the exhibition "Abstracts" organized by the J Mane Gallery (New Jersey, USA). Tomas Lagūnavičius performed Dead Soldier's Dance at the Crude Saturdays festival in Brussels (Belgium) and the Contemporary Venice festival in Venice (Italy). The artist regularly exhibits his paintings in various galleries in different countries: Boomer Gallery (London, England), Artly Mix Gallery (São Paulo, Brazil), Artio Gallery (Toronto, Canada), Collect Art (CoA) Gallery (Tbilisi, Georgia), and others. Tomas Lagūnavičius is an active member of numerous art associations: the Association of Visual Artists (AVA), the International Network for Contemporary Performing Arts (IETM), the Association of Performing Arts Professionals (APAP), the International Association of Visual Artists (IAVA), the National Association of Visual Artists (NAVA), Society of Directors and Choreographers (SDC), Latin American Art Association (ALAA), Visual Arts Creators Association (VVA), and Visual Arts Network of South Africa (VANSA).
8th INTERNATIONAL PHOTOGRAPHY BIENNIAL
“FATES”
The curator: Tomas Lagūnavičius.
The aim of this biennale is to capture traces of the past.
These can be significant historical, social, or personal life events — anything that is important and may influence people’s lives and their fates.
We look forward to receiving your works that visually reflect this theme.
Exhibition dates: from february 11, 2026 to February 25
List of participants of this biennial:
Algimantas Žukauskas
Andrius Kisbye Hofmann-Lagunavicius
Anrea Stanic
Arnold Manda
Avery Nielsen-Webb
Darija Stipanic
Judita Juknelė
Kamila Szejnoch
Karli Owens
Katja Klassen
Michael Wagner
Stella Mimikou
Tomas Lagūnavičius
Valentina Stefanescu
“BECOME THE OWNER OF MEDITATION”
Exhibition “BECOME THE OWNER OF MEDITATION”
Exhibition artist: Tomas Lagūnavičius
When? 2026.01.12–2026.01.30
This art exhibition invites visitors into a slow, personal experience in which viewing becomes an inner act. The paintings function not only as visual objects but also as impulses for reflection, encouraging each viewer to establish an individual relationship with the artwork. The exhibition explores the intersections of art, performativity, and spiritual practices, raising questions about the boundaries of ownership in contemporary culture: is it possible to “own” not only a material artwork, but also a state of being, a sensation, or an inner experience that emerges in the moment of viewing?
The project is grounded in a post-structuralist philosophical tradition in which meanings are not fixed—they unfold through the viewer’s experience and interpretation. Here, not only the visual impression is important, but also the relationship between the artwork and the observer. The artist’s concept expands the notion of the art object, shifting it from a material form into the realm of experience, where the artwork exists only insofar as it is perceived, lived through, and given meaning.
The exhibition functions as a silent performance in which the viewer is not a passive observer, but a conscious participant in the experience. Ownership is understood here not as acquisition, but as an inner connection and a deliberate choice to give attention. In this way, a dialogue is created about the value of art, personal relationship, and the transformation of ownership in contemporary culture.
Location:
Sandėlių g. 7, Kaunas | 1st floor
Website: