{"id":16920,"date":"2026-05-12T22:27:31","date_gmt":"2026-05-12T22:27:31","guid":{"rendered":"https:\/\/sapiegurumai.lt\/?post_type=event&#038;p=16920"},"modified":"2026-05-21T10:51:46","modified_gmt":"2026-05-21T10:51:46","slug":"sapieha-palace-symposium-2026","status":"publish","type":"event","link":"https:\/\/sapiegurumai.lt\/en\/events\/sapieha-palace-symposium-2026\/","title":{"rendered":"Sapieha Palace Symposium 2026"},"content":{"rendered":"\n<style>\n  #item-text-content-block_6a0ee3c008a08 {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_6a0ee3c008a08 {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_6a0ee3c008a08\" class=\"item-text-content pt-48 pb-48\">\n\n  <div class=\"container container--mob item-text-content__inner\">\n\n              <div class=\"t-20 \n              t-dt-28 \n            rich\">\n        <p>Symposium language: English<\/p>\n<p>&nbsp;<\/p>\n<p>Admission is free and open to the public.<\/p>\n<p>&nbsp;<\/p>\n<p>Speakers include Agnieszka Polska, Marissa Lee Benedict and David Rueter, Irene V. Small, Irene Revell, Goda Klumbyt\u0117, Monika Kalinauskait\u0117, Keiu Krikmann, and Isabella Tj\u00e4der, among others.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>The Sapieha Palace Symposium has established itself as a distinguished annual gathering bringing together leading scholars and artists to explore pressing contemporary questions. The inaugural symposium, held in 2025, examined the multifaceted theme of ageing and featured presentations by Egl\u0117 Ambrasait\u0117, Jo Applin, Julia Bryan-Wilson, Kim Kraczon, and Art\u016bras Tere\u0161kinas. The conversations that emerged addressed ageing not merely as a biological process but as a complex cultural, political, and aesthetic phenomenon.<\/p>\n<p>&nbsp;<\/p>\n<p>For the 2026 edition, we turn our attention to the role of storytelling\u00a0 \u2013 word, voice, text, listening, memory, and emotion \u2013 in contemporary art and culture. The symposium will gather an international group of artists, curators, art historians, and researchers covering several distinct themes, including speculative storytelling, feminist voices and listening, the archive, and the fate of narrative in the post-digital world.<\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n\n\n\n<style>\n  #item-text-content-block_6a0ee3c008a4e {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_6a0ee3c008a4e {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_6a0ee3c008a4e\" class=\"item-text-content pt-48 pb-48\">\n\n  <div class=\"container container--mob item-text-content__inner\">\n\n              <div class=\"t-20 \n            rich\">\n        <p>Programme:<\/p>\n<p>&nbsp;<\/p>\n<p>10:30 am Doors open<\/p>\n<p>&nbsp;<\/p>\n<p>10:45\u201311 am Greetings and introduction<\/p>\n<p>&nbsp;<\/p>\n<p>11:00\u201311:40 am Irene V. Small: Trompe L\u2019oreille: Rumours of Sight and Sound<\/p>\n<p>&nbsp;<\/p>\n<p>11:40\u201312:20 pm Irene Revell: A Score Telling Tales<\/p>\n<p>&nbsp;<\/p>\n<p>12:20\u201312:40 pm Coffee break<\/p>\n<p>&nbsp;<\/p>\n<p>12:40\u20131:20 pm Monika Kalinauskait\u0117: A Heartbag of Open Questions<\/p>\n<p>&nbsp;<\/p>\n<p>1:20\u20132 pm Goda Klumbyt\u0117: After Transparency: [Feeling Sensing Knowing] in the Midst of Human-AI Interaction<\/p>\n<p>&nbsp;<\/p>\n<p>2\u20133:30 pm Lunch<\/p>\n<p>&nbsp;<\/p>\n<p>3:30\u20134:10 pm Marissa Lee Benedict and David Rueter: Artist talk<\/p>\n<p>&nbsp;<\/p>\n<p>4:10\u20134:50 pm Agnieszka Polska: lecture performance Stories for Mechanic Bodies<\/p>\n<p>&nbsp;<\/p>\n<p>4:50\u20135 pm Break<\/p>\n<p>&nbsp;<\/p>\n<p>5\u20136:30 pm Roundtable with presenters, moderated by Keiu Krikmann and Isabella Tj\u00e4der<\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n\n\n\n<style>\n  #item-accordion-block_6a0ee3c0102c7 {\n          }\n\n  @media (min-width: 1180px) {\n    #item-accordion-block_6a0ee3c0102c7 {\n                }\n  }\n<\/style>\n\n<div id=\"item-accordion-block_6a0ee3c0102c7\" class=\"item-accordion pt-48 pb-48\">\n  <div class=\"item-accordion__inner container container--mob\">\n\n          <h2 class=\"t-20 t-dt-28 upper pb-18 pb-dt-32\">\n        Abstracts      <\/h2>\n    \n    \n    \n      <acc-ordion>\n\n        <ul class=\"unstyled-list item-accordion__list acc\">\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-1\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-1\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Irene V. Small: Trompe L\u2019oreille: Rumours of Sight and Sound<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-1\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>\u2018There are, melded into the isles, beautiful green waves of water and of silence.\u2019 So begins Suzanne C\u00e9saire\u2019s 1945 essay \u2018The Great Camouflage\u2019, published in <i>Tropiques<\/i>, the anti-colonial, anti-fascist literary journal she founded in 1941 in Vichy-controlled Martinique along with her husband, the poet and theorist of Negritude, Aim\u00e9 C\u00e9saire, and the philosopher Ren\u00e9 M\u00e9nil. In C\u00e9saire\u2019s essay, the \u2018great camouflage\u2019 is both binding and blinding, permeating the Caribbean Antilles. In her writing, looking is always also listening. That which is barely perceptible in the \u2018Caribbean symphony\u2019 can also crackle, crack and rip with the \u2018sound of great manifestations\u2019, while the teeming \u2018heliconia shrubs and flowers of Absalon Forest\u2019 resonate with the \u2018disquieting ringing\u2019 of the islanders\u2019 dance.<\/p>\n<p>In this presentation, I take C\u00e9saire\u2019s poetic concatenation of visuality and aurality as a point of departure to consider the work of the Puerto Rico-based duo Allora &amp; Calzadilla, whose sculptures, installations, performances and films often hinge upon recalibrating the relations between visible objects, acoustic phenomena and the particular materialities that inhere within them. Building from C\u00e9saire\u2019s synaesthetic impulse, as well as phenomena such as rumour and glossolalia \u2013\u00a0both forms of \u2018impossible speech\u2019 \u2013I trace a path across Allora &amp; Calzadilla\u2019s practice that reveals how sensory defamiliarisation can in turn catalyse processes of storytelling and oral transmission: a diversion, or <i>trompe<\/i> (trick), not simply of the <i>l\u2019oeil <\/i>(eye), but also of the <i>l\u2019oreille<\/i> (ear).<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-2\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-2\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Irene Revell: A Score Telling Tales<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-2\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>Can a score be a tool for difference, inherently oriented to the future and the speculation of future performance(s), diffractive futures? Moreover, what are the different stories it carries in its multiple iterations? Staying with one textual instructional performance score, Pauline Oliveros\u2019 1970 <i>To Valerie Solanas and Marilyn Monroe in Recognition of their Desperation<\/i>, this talk is foregrounded in my own multiple encounters with the work, to which I continue to return almost obsessively. These encounters, in turn, raise questions around the score\u2019s unambiguous feminist politics, albeit one more inclined towards the \u2018street\u2019 than the \u2018movement\u2019, and that called me to research its accordingly multiple histories.<\/p>\n<p>Here I recount an earlier series of encounters that swell outwards from the score itself \u2014 that foregrounds listening as the basis of performance and insists on the recognition of the individual as much as the importance of this group work \u2014 Oliveros&#8217; encounters with Kathy Acker, Kate Millett and, in collusion with Jackson Mac Low, Gloria Steinem. Ultimately, I explore both the potential of such a score-based work as a vessel for telling wider histories and, in the specific case of this score, in its doing and becoming, tell a story of what might be termed an Oliverosian feminism.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-3\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-3\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Monika Kalinauskait\u0117: A Heartbag of Open Questions<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-3\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>In recent years, my practice has been defined by several dualities. As a writer, I have artistic ambitions and a penchant for poetry, while as a curator working in a national institution, I hold commitments: to history, to audiences, to practitioners. As a professional, I identify a problem and explore it by gathering information, drawing schematics, and reaching out to those who may know more than I do. And as a human with feelings, I usually have a sense where that problem may take me \u2013 the fact that I was drawn to it, like a bitch on a scent trail, probably means I know the answer. It is inscribed somewhere in the story I tell myself when no one else is listening.<\/p>\n<p>&nbsp;<\/p>\n<p>Before that story is curated \u2013 fact-checked, tested against artworks, and made hospitable to others \u2013 it lies in something I call my heartbag: a pulsing pile of open questions and loose ends. When the scent trail becomes blindingly thick, I like to open the heartbag to others and hope that my weakness will work for our collective gain. At the moment, the heartbag contains political art practices by Lithuanian women and the history they may have written themselves out of; lullabies for hornets from nights when I could not sleep; looking for sculpture in all the wrong places; organisations I can neither found nor destroy; and something that will tie these threads into forty minutes that might bring us to the same scent trail.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-4\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-4\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Goda Klumbyt\u0117: After Transparency: [Feeling sensing knowing] in the Midst of Human\u2013AI Interaction<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-4\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>Conventional discourses surrounding AI research and policy position explainability and transparency as the primary routes through which algorithmic systems become knowable and understandable. Yet such framings privilege rationalist modes of understanding while overshadowing the affective, embodied, and material encounters through which users apprehend AI in practice, alongside the modalities through which AI operations become affectively felt, sometimes without making themselves fully evident to the conscious mind.<\/p>\n<p>&nbsp;<\/p>\n<p>This presentation rethinks understanding and explainability in and of AI through feminist and new materialist perspectives, proposing an emergent, process-oriented approach that foregrounds feeling, sensing, and being \u2018in the midst\u2019 of human\u2013AI interaction. Drawing upon tangible and embodied interaction design and new materialist theories, I explore how materiality and embodiment operate as agents in the emergence of understanding and interaction. Contemporary heavily language-reliant models, together with emergent agentic AI systems that seek to infer users\u2019 intent and not simply respond to commands, further politicise questions of interaction as intra-action, as well as the bodily-material apparatus of AI and its non\/ethical operations. By troubling the disciplinary drive towards knowability and understanding and\/as transparency, I argue that ethical interactions with AI would benefit from more embodied and material approaches, foregrounding material practices of care in design that expands AI evaluation beyond reason alone towards modes of affective encounter.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-5\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-5\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Marissa Lee Benedict and David Rueter: Artist talk<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-5\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>On the occasion of their first solo exhibition in Lithuania, artist duo Marissa Lee Benedict and David Rueter discuss their video installation\u00a0<i>Metrica No. 5<\/i>. Filmed on location in the storerooms of the Martynas Ma\u017evydas National Library, the work unfolds\u00a0through\u00a0a score\u00a0inviting\u00a0professional psychotherapists to conduct intake sessions with the\u00a0&#8216;collective psyches&#8217;\u00a0of administrative archives. Drawing on Lithuanian land and administrative records\u00a0spanning the 12th to 20th centuries, as well as\u00a0large language models and psychotherapeutic methods, these delegated performances\u00a0explore\u00a0the psychic\u00a0&#8216;backend&#8217;\u00a0of Eastern and Western European bureaucratic technologies.\u00a0In doing so, they test\u00a0the boundaries of selfhood, consciousness, embodiment, healing, and collective memory.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-6\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-6\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Agnieszka Polska: Stories for Mechanic Bodies<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-6\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>We live in a world undergoing rapid technological and societal change: the informational current shapes physical objects and bodies, drowning everything in a solution of the real and the hallucinatory. In this new environment, the ancient technology of storytelling plays a special role: it governs the workings of the system even as it undergoes inevitable transformation itself. In her lecture performance, Agnieszka Polska uses cinematic found-footage materials as a backdrop for reflecting upon the Story \u2013 its role in shaping the emotional infrastructures of past and present, its evolution, and its uncanny ability to predict its own future.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                  <\/ul>\n\n      <\/acc-ordion>\n    \n  <\/div>\n<\/div>\n\n\n\n<style>\n  #item-accordion-block_6a0ee3c0103e5 {\n          }\n\n  @media (min-width: 1180px) {\n    #item-accordion-block_6a0ee3c0103e5 {\n                }\n  }\n<\/style>\n\n<div id=\"item-accordion-block_6a0ee3c0103e5\" class=\"item-accordion pt-48 pb-48\">\n  <div class=\"item-accordion__inner container container--mob\">\n\n          <h2 class=\"t-20 t-dt-28 upper pb-18 pb-dt-32\">\n        Bios      <\/h2>\n    \n    \n    \n      <acc-ordion>\n\n        <ul class=\"unstyled-list item-accordion__list acc\">\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-1\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-1\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Agnieszka Polska<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-1\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Agnieszka Polska <\/b>(b.1985, based in Berlin) is a visual artist and film director who uses computer-generated media to reflect upon the individual and their social responsibility within environments driven by the flow of information. Polska has presented her works at international venues, including the New Museum and MoMA in New York, Centre Pompidou in Paris, Tate Modern in London, and the Hirshhorn Museum in Washington, DC. Solo exhibitions of her work have been organised by Hamburger Bahnhof, Berlin; the Museum of Modern Art, Warsaw; Ujazdowski Castle Centre for Contemporary Art, Warsaw; Frye Art Museum, Seattle; Nottingham Contemporary; and Saltzburger Kunstverein, among others. She has also participated in the 57th Venice Biennale, the 11th Gwangju Biennale, the 19th and 24th<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-2\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-2\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Dr Goda Klumbyt\u0117<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-2\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Dr Goda Klumbyt\u0117 <\/b>is an interdisciplinary scholar working across human-computer interaction, algorithmic systems design, and critical theories. Her current research investigates feminist approaches to explainability in AI and machine learning at the University of Kassel, alongside new materialism in human\u2013computer interaction at the University of Salzburg. Her previous work on the sociotechnical analysis of machine learning systems and interventions into their design through intersectional feminist and new materialist epistemologies received the Dissertation Prize 2024 of the German Sociological Association and will be published by Bristol University Press in 2026. Her recent books include <i>Posthuman Convergences: Transdisciplinary Methods and Practices<\/i> (with E. Jones and R. Braidotti, Edinburgh University Press, 2025) and <i>More Posthuman Glossary<\/i> (with R. Braidotti and E. Jones, Bloomsbury, 2022).<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-3\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-3\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Irene Revell<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-3\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Irene Revell<\/b>\u202fis a researcher, curator and serial collaborator with a long-standing commitment to multidisciplinary sound arts and their intersection with politics, especially feminism(s). She currently teaches on the MFA Curating programme at Goldsmiths and is a Senior Lecturer in Sound Research at CRiSAP, where she co-leads the <a href=\"https:\/\/www.rca.ac.uk\/research-innovation\/projects\/scoring-warnings\/\" target=\"_blank\" rel=\"noopener\"><i>Scoring Warnings<\/i><\/a> research project. Stemming originally from DIY cultural production, much of her curatorial work over the past twenty years has been with\u202f<a href=\"http:\/\/www.electra-productions.com\/\" target=\"_blank\" rel=\"noopener\">Electra<\/a>, and she is closely involved with collections including Electra\u2019s\u202f<a href=\"https:\/\/hernoise.org\/\" target=\"_blank\" rel=\"noopener\">Her Noise Archive<\/a>\u202fand\u202f<a href=\"https:\/\/cinenova.org\/\" target=\"_blank\" rel=\"noopener\">Cinenova: Feminist Film + Video<\/a>. With Sarah Shin, she co-edited the anthology <a href=\"https:\/\/www.silverpress.org\/products\/bodies-of-sound-1?srsltid=AfmBOoq5k9WNbcZi7u6edRMW4DvvH9LRaE3SHOPxDHS4BzuH3mxMDjXd\" target=\"_blank\" rel=\"noopener\"><i>Bodies of Sound: Becoming a Feminist Ear<\/i><\/a> (Silver Press, 2024).<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-4\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-4\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Irene V. Small<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-4\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Irene V. Small<\/b> is Professor of Contemporary Art and Criticism in the Department of Art &amp; Archaeology at Princeton University. Her areas of interest include experimental practices of the 1950s, 1960s and 1970s, legacies of the avant-garde, abstraction, temporalities of art, problems of methodology and interpretation, relationality and the social implications of form. She is the author of <i>H\u00e9lio Oiticica: Folding the Frame<\/i> (University of Chicago Press, 2016) and <i>The Organic Line: Towards a Topology of Modernism<\/i> (Zone Books, 2024). She has published on topics ranging from Neoconcretism and radical pedagogy to social sculpture, restitution debates, free speech and the afterlives of slavery. At Princeton, she is affiliated with the Program in Media and Modernity, the Program in Latin American Studies, the Department of Spanish and Portuguese, and Brazil Lab. She is a member of the advisory boards of the journals <i>October<\/i> and <i>Texte zur Kunst<\/i>.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-5\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-5\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Isabella Tj\u00e4der<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-5\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Isabella Tj\u00e4der<\/b>, Director of Index \u2013 The Swedish Contemporary Art Foundation, has a curatorial practice rooted in language, listening, and the subversive potential of stories told well. Her work relies upon radical imagination and emotional attentiveness, inviting absurdity and embracing humour. She established the course Text as an Artistic Medium at the Royal Institute of Art in Stockholm. She has produced exhibitions and artworks in collaboration with Moderna Museet, Stockholm; MoMA PS1, New York; Gropius Bau, Berlin; Secession, Vienna; Rhizome, Algiers; Overgaden, Copenhagen; Kunsthall Trondheim; and Manifesta 15, Barcelona.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-6\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-6\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Keiu Krikmann<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-6\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Keiu Krikmann<\/b> is a writer, translator, editor, and curator. Since 2021, she has been one of the editors of <i>A Shade Colder, a<\/i> magazine published by the Estonian Centre for Contemporary Art (CCA). Additionally, she also curates and teaches at the Estonian Academy of Arts.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-7\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-7\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Marissa Lee Benedict and David Rueter<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-7\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p>Working across video, installation, and performance, <b>Marissa Lee Benedict and David Rueter<\/b> stage encounters between industrial processes, professional grammars, and the human body \u2013 arranging what might be described as unlikely meetings between estranged landscapes. Through videos, performances, site-adapted sculptures, and drawings, they imagine scores for intercepting and redirecting infrastructural systems and bureaucratic processes. The duo&#8217;s work lodges materiality, voice, intimacy, and at times their own bodies, into the heart of technological, colonial, and extractive sites and processes.<\/p>\n<p>&nbsp;<\/p>\n<p>Benedict and Rueter have exhibited work at the 34th Bienal de S\u00e3o Paulo; The Renaissance Society at the University of Chicago; The US Pavilion at the 2018 Venice Architecture Biennale; Msheireb Museums, Doha, Qatar; The Arts Club of Chicago; The Museum of Contemporary Photography, Chicago; P\/\/\/\/\/AKT, Amsterdam; and Contemporary Art Brussels, among others. They have received major grants from institutions including the Graham Foundation for Advanced Studies in the Fine Arts, the National Endowment for the Arts, the Mondriaan Fund, the Lithuanian Council for Culture, and the Joan Mitchell Foundation. Their work has been reviewed by publications including <i>Artforum<\/i>, <i>Revista<\/i>, <i>Agenda Magazine<\/i>, and <i>Hyperallergic.<\/i> They recently published a book on their collaborative work with Daniel de Paula, <i>deposition<\/i> (2018\u2013ongoing), with Mousse Publishing. They have participated in numerous international residencies, including Rupert, the Banff Centre for Arts and Creativity, the Jan van Eyck Academie, Headlands Center for the Arts, and AIR Alexanderplatz. Benedict and Rueter currently live and work between Amsterdam and Berlin.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                      \n            <li class=\"item-accordion__item pb-30 pb-dt-20\" data-item>\n\n                              <button aria-controls=\"content-8\" \n                        aria-expanded=\"false\" \n                        data-button \n                        id=\"accordion-control-8\" \n                        class=\"unstyled-button acc__button item-accordion__item-button pt-24 pb-15 t-22\">\n              \n\n                <span class=\"acc-item-title upper\">Monika Kalinauskait\u0117 (Monika Kalin)<\/span>\n\n                                  <span class=\"acc-item-icon btn\" data-icon>\n                    +\n                  <\/span>\n                \n                              <\/button>\n              \n                              <div class=\"acc__item-content item-accordion__item-content min-height\" \n                    aria-hidden=\"true\" \n                    id=\"content-8\">\n                  <div class=\"acc__item-inner t-20 rich\" data-inner>\n                    <div>\n                      <p><b>Monika Kalinauskait\u0117 (Monika Kalin) <\/b>is a writer and curator based in Vilnius, Lithuania. Her work has been featured in literary magazines, exhibitions, catalogues, and Lithuanian and international art publications. As a curator, she is currently working at the Radvila Palace Museum of Art in Vilnius, where she is investigating women\u2019s contemporary art practices in Lithuania from the 2000s onwards.<\/p>\n                    <\/div>\n                  <\/div>\n                <\/div>\n                                \n\n            <\/li>\n\n                  <\/ul>\n\n      <\/acc-ordion>\n    \n  <\/div>\n<\/div>\n\n\n\n<style>\n  #item-text-content-block_6a0ee3c010440 {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_6a0ee3c010440 {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_6a0ee3c010440\" class=\"item-text-content pt-48 pb-48\">\n\n  <div class=\"container container--mob item-text-content__inner\">\n\n              <div class=\"t-20 \n            rich\">\n        <p>For more information about the symposium, please contact inesa.brasiske@cac.lt or visit www.sapiegurumai.lt\/en<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>Symposium partner: Rupert, Center for Art, Residencies and Education<\/p>\n<p>&nbsp;<\/p>\n<p>Organised by Sapieha Palace<\/p>\n<p>Curator Inesa Bra\u0161i\u0161k\u0117<\/p>\n<p>Designer Jon\u0117 Mi\u0161kinyt\u0117<\/p>\n<p>Translator Veronika Vasiljeva-Niparavi\u010dien\u0117<\/p>\n<p>Copy editors: Gemma Lloyd, Dang\u0117 Vitkien\u0117<\/p>\n<p>Communication: Maksimilianas Opri\u0161ka, Monika Jagusinskyt\u0117<\/p>\n<p>Technicians: Jok\u016bbas \u010ci\u017eikas, Antoni Dombrovskij<\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n","protected":false},"featured_media":16931,"template":"","event_category":[],"class_list":["post-16920","event","type-event","status-publish","has-post-thumbnail","hentry"],"acf":[],"aioseo_notices":[],"aioseo_head":"\n\t\t<!-- All in One SEO 5.0.0.1 - 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