Linas Jusionis

6 p.m. 6th March, 2015 will be opened an exhibition "In the absence of time, waiting for it to come“ by Linas Jusionis  at Klaipeda Culture Cummunication Centre.

In the absence of time, waiting for it to come operates as a time reference characterizing a specific narrative space. According to Linas, this space can be perceived as a unifying factor in his painting. The narrative space can be defined through the interaction between an image, the story or meaning it accommodates and emotional perception of space and time it generates. I am interested in ideas we project on to images. I am fascinated haw they resist as much as accommodates them. (Linas Jusionis)

This show by Linas Jusionis reveals more than his previous exhibits. On the other hand, when the mystery of images and hints turns in a new direction, you begin to understand that you are now in a more complex system, where even more possibilities exist. It is comparable to the feeling you may experience when you reach the top of the mountain and glimpse at the impenetrable valley behind it, which you will need to cross; a similar sentiment might have been familiar to Gino Bartali when during the Second World War he carried secret messages, riding his bike from Florence to Tuscany or Umbria. Exhausting peddling uphill and then a sudden opening of the valley below. It is also like the feeling that you have when you are reading a detective novel and as soon as you solve one mystery you realize that there are three new ones. Thoughts that we project onto an image begin to unfold as an arithmetic progression, and the image, according to Linas, at the same time accepts them and resists them. The booklet that accompanies the exhibit, by the way, reminds me of Gino Bartali riding his bike, carrying secret and important messages, going uphill, then going downhill. The booklet also contains hills and valleys and hidden images. 

The image both accommodates and resists – it seems that only now I began to realize one more layer in Linas’ painting, which I could only sense before. It is strange because now it appears more than evident – it is the independence of the image (in this case, Linas’ paintings), like the independence of the thing/object in the philosophies of new realism (ontological turn) and speculative realism, the upsetting of hierarchies between the presence of things and people in the world. Linas’ interest in ideas, which we project onto an image, and in how the image both accepts them and resists them reminds me of Italian philosopher Maurizio Ferraris’ s H2O example (an argument in favor of ontology). It goes like this – in order for us to know that water is H2O we need the knowledge of language and the knowledge of chemistry, but that water is H2O does not depend on our knowledge. These links between Linas’ exhibit and new realism and speculative realism are not direct; rather, I am playing with these links and flirting with these philosophical movements. An “image” is not H2O/water; it hasn’t appeared before us and it will not outlast us after we are gone from the surface of the earth. But until we are still here, it is, and we can think that it exists independently, becoming, in a sense, alive and conscious.

With this premise I invite you to take a walk around Linas’ exhibit. Do not forget to take the booklet, which will be very helpful for communicating with the works. It is a travel dictionary, in which you will find phrases / texts / images. With them, when you approach the works you may try to speak to them. On the other hand, is there a need? It is that feeling of having the keys and knowing how to unlock.

Art critic Danutė Gambickaitė

Exhibition will last till 19th April, 2015.