For the first time in its history, the Baltic Triennial will take place in the three Baltic countries: Lithuania, Estonia and Latvia, from May to November 2018. Each of the three exhibitions will be different and together with a catalogue and project website form the Triennial. The Baltic Triennial 13 is titled GIVE UP THE GHOST and is curated by Vincent Honoré, assisted by Neringa Bumblienė and Cédric Fauq. More than 50 artists from over 20 countries will participate in the Triennial.
Taking place across multiple locations and at various times, this iteration of the Baltic Triennial is the first to give up its unity, in order to make space and time for the polyphonic to rise. While each exhibition will be different in terms of artists and works, collectively they operate under an over-arching triennial motif: BT13– GIVE UP THE GHOST responds to this idiomatic motif, and does not offer a single or illustrative response, but rather a collective vision on what is at stake: independence and dependency – to territories, cultures, classes, histories, bodies and forms.
The moving notion of belonging allows us to go beyond identity. This is the core intention of BTX13 – GIVE UP THE GHOST which will explore the concepts of formless subjectivity, bastard objects and anti-specism, of bodies, geographies, temporalities and styles – concepts acting as the intertwined lines of a fluid score rather than the headlines of an activist manifesto.
Carlotta Bailly Borg
Ben Burgis and Ksenia Pedan
Michael E. Smith
Max Hooper Schneider
Pakui Hardware (Neringa Černiauskaitė and Ugnius Gelguda)
Dorota Gawęda and Eglė Kulbokaitė (Young Girl Reading Group)
Young Boy Dancing Group
Poets and Musicians
Baltic Triennial (formerly known as Baltic Triennial of International Art) is one of the major contemporary festival exhibitions in Northern Europe. The exhibition was founded as The Baltic Triennial of Young Contemporary Art in Lithuania in 1979 while the country was under the occupation of the Soviet Union. Despite the totalitarian regime’s particular expectations invested in youth, the generation of young artists expressed a critical non-conformist spirit. After the restoration of independent Lithuania in 1990, the Contemporary Art Centre (CAC) became its organiser and host, and the Triennial’s international aspect gradually expanded.
In 2002, the Triennial’s 8th edition “Centre of Attraction” curated by Tobias Berger was a powerful manoeuvre dedicated to placing Vilnius on the global map of biennials. Sofía Hernández Chong Cuy, Raimundas Malašauskas and Alexis Vaillant curated the following edition in 2005 under the premise of elusive and shadow economies; it was given multiple titles such as “BMW”, “Black Market Worlds” and “Ultimiere”, among others. “Urban Stories”, the 10th Triennial (CAC Director Kęstutis Kuizinas and Ann Demeester) focused on narratives inherent to the city of Vilnius.
The 11th edition of the Baltic Triennial of International Art in 2012 focused on performance and film. Countering the general tendency of biennials to be pluralist, all-encompassing multi-platforms, the curators (Benjamin Cook and Defne Ayas with Michael Portnoy and Ieva Misevičiūtė) chose to channel the contributions of artists through a radically minimised vessel – one human being. The Triennial was named after its medium, who in his own right carried one of the most common Lithuanian names, Mindaugas.
Visit the Website: www.baltictriennial13.org