Emilija Škarnulytė makes films and immersive video installations exploring deep time and invisible structures, from the cosmic and geological to the ecological and political, working between the documentary and the imaginary.
Emilija Škarnulytė (1987 in Vilnius/LT) studied art at the Brera Academy of Fine Arts in Milan/IT (2007–2010) and holds an MA from the Tromsø Academy of Contemporary Art, Tromsø/NO (2012–2013). Working between the documentary and the imaginary, Škarnulytė makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geological to the ecological and political. Her blind grandmother gently touches the weathered statue of a Soviet dictator. Neutrino detectors and particular colliders measure the cosmos with otherworldly architecture. Post-human species swim through submarine tunnels above the Arctic Circle and crawl through tectonic fault lines in the Middle Eastern desert. Škarnulytė is the winner of the 2019 Future Generation Art Prize. She is a founder of Polar Film Lab, a collective for analogue film practice located in Tromsø/NO, and a member of artist duo New Mineral Collective, recently commissioned for new work by the First Toronto Biennial/CA. Škarnulytė lives nomadically.
Škarnulytė’s works have been exhibited among others at: PinchukArtCentre, Kiev/UA (2019); Tromsø Kunstforening, Tromsø/NO (2019); Serpentine Galleries, London/UK (2019); XXII Triennale di Milano, Milan/IT (2019); Ballroom Marfa, Marfa/US (2018); Kadist Foundation, Paris/FR (2018); The Riga International Biennial of Contemporary Art (RIBOCA), Riga/LV (2018); Venice Biennale of Architecture/IT (2018); Künstlerhaus Bethanien, Berlin/DE (2017); Seoul Museum of Art (SEMA)/KR (2013).
The following artwork will be shown as part of the EVROVIZION.CROSSING STORIES AND SPACES project:
Sirenomelia, video, HD, 12', colour, sound, Ålesund/NO, 2018.
Direction and performance: Emilija Škarnulytė, © Emilija Škarnulytė
Emilija Škarnulytė’s video work Sirenomelia was filmed in Norway inside the Arctic Circle. The video begins by showing an icy landscape passing by with a monumental satellite dish. Subsequent sequences then show the artist as a mermaid swimming through the abandoned underwater facilities in Olavsvern – a former submarine bunker for NATO and the Norwegian Navy – and through an aboveground facility for a geodetic research institute in Ny-Ålesund, Spitzbergen. The title Sirenomelia is the scientific name for ‘mermaid syndrome’, an extremely rare congenital deformity in which the legs are fused together from the pelvis downwards. The mermaid featured in the film therefore represents not only a purely mythical being, but in a much greater sense a blend of the human and the mythical. Among other things, she explores deserted locations that had played key roles during the Cold War between the Eastern and Western blocs. Here, Škarnulytė has created a futuristic scenario that combines elements of mythology, the past and the future and allows these to merge into a seamless whole in the documentation and imagination.
This artwork is part of the ifa art collection.
Kunstpreis der Böttcherstraße in Bremen 2020
The Kunsthalle Bremen presents ten promising positions in contemporary art. Renowned curators such as Johan Holten, Bonaventure Soh Bejeng Ndikung and Bettina Steinbrügge have nominated ten artists from German-speaking countries, whose works can be seen in an exhibition at the Kunsthalle Bremen from August 29 to November 1, 2020. The nominees included also artists from the EVROVIZON project: Janine Jambere, Henrika Naumann and Nevin Aladag
Selma Selman - Risk Change
*In 2018, I was part of the third international interdisciplinary art exhibition Personal, as part of the project Risk Change for which I received the White Aphroid Award for my works Dangers of the Body, The Body in Danger, Viva la Vida We Who Are Dreaming of. As part of the Risk Change project, my work was a part of My Art Is My Reality exhibition at the Museum of Modern and Contemporary Art, Rijeka (CR), curated by Sanja Kojić Mladenov. The Risk Change project gives a chance for those artists who genuinely GIVE so much attempt for change of society while using art, technology, and mobility. Therefore, it allows us to think outside of the box and make sure that we can have a better future if you all respect those categorized as others. *Selma Selman
Emilija Škarnulytė at Kunsthaus Pasquart
EMILIJA ŠKARNULYTĖ – Sunken Cities at Kunsthaus Pasquart, 3 July – 29 August With Sunken Cities (2021), Emilija Škarnulytė creates an immersive film environment in the Galeries, in which the different rooms function as a time-line. She produces the effect of total immersion in a multi-dimensional landscape in which our gaze is duplicated by the mirrored ceiling and we simultaneously become witnesses of a future, contemporary and past world. The artist opens the perspective with this black, reflective surface, allowing us to experience it as a visual horizon that looks like an ocean of liquid oil.
Nevin Aladag, Kunstforum, Bd. 262
Kunstforum, Bd. 262 Borderlines **Nevin Aladağ** Mustergültiges für unsere Zeit Ein Gespräch von Sabine Maria Schmidt Nevin Aladağ gehört aktuell zu den international gefragten Künstlerpositionen aus Deutschland. 1972 geboren im türkischen Van, ein Jahr später umgesiedelt nach Stuttgart, ausgebildet in München, ansässig in Berlin, steht sie für eine Position, die fern politischer Identitätsdebatten freie künstlerische Ausdrucksmöglichkeiten findet. In zahlreichen Werkserien untersucht sie die Kraft und den Erfindungsreichtum von kulturellen Transfers. Ihre Arbeiten handeln von Selbstbestimmung, Rollentausch, Fremdwahrnehmung und Multiperspektivität. Klischees und vorgeformtes Wissen werden grundlegend hinterfragt. Und sie nutzt die Poesie von Stimmen und Klängen, die sie unterschiedlichsten Körpern und selbstgebauten Instrumenten entlockt.