{"id":2394,"date":"2024-03-16T14:31:30","date_gmt":"2024-03-16T14:31:30","guid":{"rendered":"https:\/\/sapieha.8080.dev\/exhibitions\/sound-works-for-the-sapieha-palace\/"},"modified":"2025-09-04T13:03:22","modified_gmt":"2025-09-04T13:03:22","slug":"sound-works-for-the-sapieha-palace","status":"publish","type":"exhibition","link":"https:\/\/sapiegurumai.lt\/en\/exhibitions\/sound-works-for-the-sapieha-palace\/","title":{"rendered":"Sound Works for the Sapieha Palace"},"content":{"rendered":"\n<style>\n  #item-text-content-block_67adee7a0cf72 {\n          padding-top: 0px;\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_67adee7a0cf72 {\n              padding-top: 0px;\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_67adee7a0cf72\" 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>This collection of five sound works is inspired by the history and surroundings of the Sapieha Palace. The works were created by writer Monika Kalin; art historian and Baroque music performer Renata Dubinskait\u0117; artist, musician, and composer Lina Lapelyt\u0117; philosopher Kristupas Sabolius; and the artist and composer Andrius Arutiunian. Their diverse responses have produced sound experiences embodying a range of forms; meditation, storytelling, singing, a radio programme, and a mind-altering soundtrack. Together, the works connect the three main parts of the Baroque architectural ensemble: the palace, the park, and the Trinitarian monastery and church.<\/p>\n<p>&nbsp;<\/p>\n<p>The words \u2018this is a story that can still belong to us\u2019 in Monika Kalin\u2019s meditation-work <i>The Path\u2019s Voice<\/i>, give voice to a possible way to relate to these five pieces, which foster an intimate, attentive, and sometimes provocative dialogue between their creators and the distant events and phenomena of the past. Collectively, the works inspire a curiosity to ponder: What was the world and its people really like in those times? How did they live and feel? And what does the history of the Sapieha family and their architectural heritage hold for us today?<\/p>\n<p>&nbsp;<\/p>\n<p>Spanning several centuries, the history of the Sapieha Palace has many cracks \u2013 few sources of knowledge remain on its history and architecture. The primary surviving records tell the story through objects: they are the inventories of the Sapieha Palace, the park, and the former auxiliary buildings. It is from these documents that we can gain insight into the decoration of the palace and park spaces, the modification of the Sapieha Palace ensemble, and ultimately, what has been lost over time. These inventories offer a glimpse into the lifestyles shaped by these spaces and objects.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>The owners and use of the palace changed many times. As a country residence, it belonged to the Sapieha family, the noblemen of the Grand Duchy of Lithuania, for just over a century (1689\u20131797). Later, the palace was used as a (military) hospital, rented to various individuals, and housed a cadet corps. During the Soviet era, the entire territory of the ensemble belonged to the Soviet army, and thus was classified and closed to civilians. The function of the adjacent monastery and church also changed with shifting political landscapes. Established at the end of the 17th century by Trinitarians from Spain upon the invitation of Lithuanian Grand Hetman Kazimierz Jan Sapieha, the monastery was closed in 1864 and repurposed for the Tsarist Russian army; the church was temporarily converted into an Orthodox church, and later used as a warehouse. Presently, the former site of the Trinitarians, who departed and never returned to Lithuania, hosts the Community of St. John.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Each of these transformations are etched into the physical body of the Sapieha Palace ensemble. The Baroque residence of Kazimierz Jan Sapieha was built by reconstructing an earlier building dating back to the first half of the 17th century, the masonry of which has been preserved in the structure of today\u2019s restoration. The palace endured devastation several times, beginning with an uprising by nobles against the Sapiehas shortly after the completion of the palace, following their defeat at the Battle of Valkininkai in 1700. Later, it suffered pillaging and destruction by both Russian and French armies. The palace continued to change as subsequent owners reconstructed the building, while the park eventually became the site for the new wing of the tsarist hospital.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Much like reading inventories, the multi-layered heritage of the palace finds interpretation in the compositions created by contemporary authors through a combination of different details of the Sapieha Palace and its history \u2013 both documented and presumed \u2013 which sometimes intricately weave together threads of reality and fiction. The metaphor of the stranger that emerges in the radio programme-work Feast by Kristupas Sabolius offers yet another way of listening to these works. What does it mean to be a stranger in relation to the history of one\u2019s homeland? Perhaps it is the state of not knowing it well, not having experienced it personally, yet having the opportunity to perceive it with fresh eyes: to refrain from blindly trusting the dominant narratives, to trace the paths of lesser-known, parallel stories, to seek a personal connection with it? Paradoxically, through the personalisation of historical events, we often grasp the broader and deeper connections of the past, and recurring historical events and lessons are brought closer to the present. Similarly, the history (re)recreated and imagined in these sound works becomes a little more our own.<\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n\n\n\n<style>\n  #audio-work-block_67adee7a0cffa {\n          }\n\n  @media (min-width: 1180px) {\n    #audio-work-block_67adee7a0cffa {\n                }\n  }\n<\/style>\n\n<div id=\"audio-work-block_67adee7a0cffa\" class=\"audio-work\n      pt-48 pt-dt-82\n   pb-48 pb-dt-82\">\n  <div class=\"audio-work__inner container container--mob grid\">\n\n    <div class=\"audio-work__title-wrapper pb-32 pb-dt-48\">\n              <h3 class=\"t-24 t-32 \">\n          MONIKA KALIN        <\/h3>\n      \n              <h2 class=\"t-24 t-32 \">\n          The Path\u2019s Voice        <\/h2>\n      \n              <div class=\"t-24  \">\n          2024        <\/div>\n          <\/div>\n\n          <audio-player data-title=\"The Path\u2019s Voice\" class=\"pb-32 audio-player audio-work__player\">\n\n        <button type=\"button\" 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stroke-linecap=\"round\" stroke-linejoin=\"round\"\/>\n<\/svg>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M38.75 33.5718C38.75 33.1576 38.4142 32.8218 38 32.8218C37.5858 32.8218 37.25 33.1576 37.25 33.5718V45.9468C37.25 46.361 37.5858 46.6968 38 46.6968C38.4142 46.6968 38.75 46.361 38.75 45.9468L38.75 33.5718ZM44.7502 33.5718C44.7502 33.1576 44.4145 32.8218 44.0002 32.8218C43.586 32.8218 43.2502 33.1576 43.2502 33.5718V45.9468C43.2502 46.361 43.586 46.6968 44.0002 46.6968C44.4145 46.6968 44.7502 46.361 44.7502 45.9468V33.5718Z\" fill=\"#F6F4F4\"\/>\n<\/svg>\n        <\/button>\n\n        <div class=\"audio-player__ui\">\n        \n          <span data-current-time class=\"audio-player__time\">0:00<\/span>\n\n          <input type=\"range\" data-seek-slider class=\"audio-player__seek\" max=\"100\" value=\"0\">\n\n                      <span data-duration class=\"audio-player__time audio-player__time--duration\">0:00<\/span>\n          \n        <\/div>\n\n        <audio controls preload=\"metadata\" data-audio class=\"visually-hidden\">\n          <source src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/1.-Monika-Kalin_Kelio-balsas.mp3\" type=\"audio\/mpeg\">\n          Your browser does not support the audio element.\n        <\/audio>\n\n      <\/audio-player>\n    \n    <div class=\"audio-work__info-wrapper t-20 pb-32 pb-dt-0\">\n\n                        <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                DURATION              <\/h4>\n                                      <div class=\"rich\">\n                <p><span style=\"font-weight: 400;\">5 min 58 s<\/span><\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                CREDITS              <\/h4>\n                                      <div class=\"rich\">\n                <p>Concept, text, narration: Monika Kalin<\/p>\n<p>Composer, sound engineer: Edvinas Gruodis Sili\u016bnas<\/p>\n<p>Consultation: Vladas Dieninis<\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                LANGUAGE              <\/h4>\n                                      <div class=\"rich\">\n                <p>Lithuanian<\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                                      <div class=\"rich\">\n                <p>&nbsp;<\/p>\n<p>This sound work was recorded using binaural sound, which is fully experienced when listening through headphones.<\/p>\n              <\/div>\n                      <\/div>\n              \n    \n    <\/div>\n    \n          <acc-ordion class=\"audio-work__acc\">\n        <ul class=\"unstyled-list audio-work__list acc\">\n            \n          <li class=\"audio-work__item pb-30 pb-dt-20\" data-item>\n\n            <button aria-controls=\"content-1\" aria-expanded=\"false\" id=\"accordion-control-1\" data-button class=\"unstyled-button acc__button audio-work__item-button pt-24 pb-15 t-22\">\n              <span class=\"acc-item-title upper\">\n              <\/span>\n              <span class=\"acc-item-icon btn\" data-icon>\n                +\n              <\/span>\n            <\/button>\n\n            <div class=\"acc__item-content audio-work__item-content\" aria-hidden=\"true\" id=\"content-1\">\n\n              <div class=\"acc__item-inner pt-24 pb-24 t-20 rich\" data-inner>\n                <div>\n                  <p><i>The Path\u2019s Voice <\/i>draws inspiration from the architecture of the Sapieha Palace and the surrounding park, and is a meditation on pain, life, and the places they inhabit \u2013\u00a0our bodies. The origins of Monika Kalin\u2019s work are closely tied to events that took place several years ago, when, as part of plans to restore a former baroque garden, trees in the Sapieha Park were meant to be cut down, thus destroying an environment beloved by both people and birds.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>The attempt to understand cruelty and to numb its pain are recurring themes in Kalin\u2019s work. One of the ways she does this is through meditation \u2013 listening to various recordings when the silence is unbearable. Meditation also helps us to stay in touch with our own thoughts while distancing ourselves from the external world.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p><i>The Path\u2019s Voice <\/i>guides us along a direct route through the Sapieha Park towards the palace. When walking and listening to the meditation, real and imaginary architectural elements, visions of past events and glimpses of nature emerge. It draws our thoughts towards the recognition that palaces, churches and even gardens established by those with wealth and power often have roots steeped in historical, economic, and social violence. Sometimes, they further perpetuate cruelty and deepen existing divisions. Just as we inhabit our bones and tissues, we live surrounded by spaces that we did not necessarily choose. Yet, by engaging with and exhaling different stories, we can change our own narratives and that of our homes.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>MONIKA KALIN (KALINAUSKAIT\u0116) is a writer and curator. Her texts bounce between the boundaries of art criticism, fiction and poetry, celebrating the fluidity of language and the emotional extremities hiding in simple concepts. Monika Kalin\u2019s work has been featured in the literary magazines <i>Fireflies<\/i>, <i>PaperWork<\/i>, <i>The Happy Hypocrite 10: Tolstoevsky et al.<\/i>, exhibitions and catalogues (most recently \u2013 the catalogue and vinyl for <i>Sun &amp; Sea (Marina)<\/i> for the Lithuanian National Pavilion at the 58th Venice Biennale and Emilija \u0160karnulyt\u0117\u2019s project <i>Manifold<\/i> at the 22nd International Triennale di Milano, both in 2019) and Lithuanian and international art publications. A digital collection of her texts, <i>Mirror Mirror<\/i>, was published in 2020. As a curator, she has worked on the JCDecaux Award exhibition series at the Contemporary Art Centre, Vilnius between 2018 and 2019, and has curated independent projects by emerging artists. She is currently a curator at the Lithuanian National Museum of Art in Vilnius.<\/p>\n                <\/div>\n              <\/div>\n              \n            <\/div>\n                \n\n          <\/li>\n        <\/ul>\n      <\/acc-ordion>\n          \n\n  <\/div>\n<\/div>\n\n\n\n<style>\n  #audio-work-block_67adee7a0d06c {\n          }\n\n  @media (min-width: 1180px) {\n    #audio-work-block_67adee7a0d06c {\n                }\n  }\n<\/style>\n\n<div id=\"audio-work-block_67adee7a0d06c\" class=\"audio-work\n      pt-48 pt-dt-82\n   pb-48 pb-dt-82\">\n  <div class=\"audio-work__inner container container--mob grid\">\n\n    <div class=\"audio-work__title-wrapper pb-32 pb-dt-48\">\n              <h3 class=\"t-24 t-32 \">\n          RENATA DUBINSKAIT\u0116        <\/h3>\n      \n              <h2 class=\"t-24 t-32 \">\n          A Baroque Person in the Theatre of Life        <\/h2>\n      \n              <div class=\"t-24  \">\n          2024        <\/div>\n          <\/div>\n\n          <audio-player data-title=\"A Baroque Person in the Theatre of Life\" class=\"pb-32 audio-player audio-work__player\">\n\n        <button type=\"button\" class=\"unstyled-button audio-player__button audio-work__button\" data-play-button>\n          <span class=\"visually-hidden\">Play button<\/span>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path d=\"M36 34.0877V46.4796C36.0018 46.5785 36.0297 46.6751 36.0808 46.7598C36.1319 46.8445 36.2045 46.9142 36.2911 46.9619C36.3777 47.0096 36.4754 47.0336 36.5743 47.0315C36.6732 47.0294 36.7698 47.0013 36.8543 46.95L46.9849 40.754C47.0658 40.705 47.1328 40.636 47.1792 40.5536C47.2257 40.4712 47.2501 40.3782 47.2501 40.2836C47.2501 40.189 47.2257 40.0961 47.1792 40.0137C47.1328 39.9313 47.0658 39.8622 46.9849 39.8132L36.8543 33.6173C36.7698 33.566 36.6732 33.5379 36.5743 33.5358C36.4754 33.5337 36.3777 33.5577 36.2911 33.6054C36.2045 33.6531 36.1319 33.7228 36.0808 33.8075C36.0297 33.8922 36.0018 33.9888 36 34.0877Z\" stroke=\"white\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\"\/>\n<\/svg>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M38.75 33.5718C38.75 33.1576 38.4142 32.8218 38 32.8218C37.5858 32.8218 37.25 33.1576 37.25 33.5718V45.9468C37.25 46.361 37.5858 46.6968 38 46.6968C38.4142 46.6968 38.75 46.361 38.75 45.9468L38.75 33.5718ZM44.7502 33.5718C44.7502 33.1576 44.4145 32.8218 44.0002 32.8218C43.586 32.8218 43.2502 33.1576 43.2502 33.5718V45.9468C43.2502 46.361 43.586 46.6968 44.0002 46.6968C44.4145 46.6968 44.7502 46.361 44.7502 45.9468V33.5718Z\" fill=\"#F6F4F4\"\/>\n<\/svg>\n        <\/button>\n\n        <div class=\"audio-player__ui\">\n        \n          <span data-current-time class=\"audio-player__time\">0:00<\/span>\n\n          <input type=\"range\" data-seek-slider class=\"audio-player__seek\" max=\"100\" value=\"0\">\n\n                      <span data-duration class=\"audio-player__time audio-player__time--duration\">0:00<\/span>\n          \n        <\/div>\n\n        <audio controls preload=\"metadata\" data-audio class=\"visually-hidden\">\n          <source src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/2.-Renata-Dubinskaite_Baroko-zmogus-gyvenimo-spektaklyje.mp3\" type=\"audio\/mpeg\">\n          Your browser does not support the audio element.\n        <\/audio>\n\n      <\/audio-player>\n    \n    <div class=\"audio-work__info-wrapper t-20 pb-32 pb-dt-0\">\n\n                        <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                DURATION              <\/h4>\n                                      <div class=\"rich\">\n                <p><span style=\"font-weight: 400;\">28 min 43 s<\/span><\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                CREDITS              <\/h4>\n                                      <div class=\"rich\">\n                <div class=\"\">\n<p>Concept, text, narration: Renata Dubinskait\u0117<\/p>\n<p>Vocals: Renata Dubinskait\u0117<\/p>\n<p>Theorbo and Baroque guitar: Karl Nyhlin<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Sound engineer: Adas Gecevi\u010dius<\/p>\n<\/div>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                LANGUAGE              <\/h4>\n                                      <div class=\"rich\">\n                <p>Lithuanian<\/p>\n              <\/div>\n                      <\/div>\n              \n    \n    <\/div>\n    \n          <acc-ordion class=\"audio-work__acc\">\n        <ul class=\"unstyled-list audio-work__list acc\">\n            \n          <li class=\"audio-work__item pb-30 pb-dt-20\" data-item>\n\n            <button aria-controls=\"content-1\" aria-expanded=\"false\" id=\"accordion-control-1\" data-button class=\"unstyled-button acc__button audio-work__item-button pt-24 pb-15 t-22\">\n              <span class=\"acc-item-title upper\">\n              <\/span>\n              <span class=\"acc-item-icon btn\" data-icon>\n                +\n              <\/span>\n            <\/button>\n\n            <div class=\"acc__item-content audio-work__item-content\" aria-hidden=\"true\" id=\"content-1\">\n\n              <div class=\"acc__item-inner pt-24 pb-24 t-20 rich\" data-inner>\n                <div>\n                  <p>Strong, sometimes exaggerated emotions and maximal contrasts inherent in Baroque culture \u2013 between theatricality and naturalness, hedonism and asceticism, refinement and crudeness \u2013\u00a0are vividly depicted in this sound work, which responds to two striking episodes in the life of Kazimierz Jan Pawe\u0142 Sapieha (Kazimieras Jonas Sapiega), a nobleman of the Grand Duchy of Lithuania and Commander-in-Chief of the army. In 1694, Sapieha faced the most severe ecclesiastical punishment for stationing army troops on church property during the winter. He was publicly excommunicated in the cathedral by Vilnius Bishop Konstanty Kazimierz Brzostowski (Konstantinas Kazimieras B\u017eostovskis), who separated him from the church and put a curse upon him. In response, Sapieha held a raucous feast for the nobility and gentry at his residence.<\/p>\n<p>&nbsp;<\/p>\n<p>These two episodes from the life of Kazimierz Jan Pawe\u0142 Sapieha, along with the contrasts between the ecclesiastical and secular life of the Baroque era, are illuminated in Renata Dubinskait\u0117\u2019s piece through an interplay of a dynamic narrative and music. The narrative, which embodies all that can be seen, heard, and sensed, offers a gateway into the dramatic and contradictory worldview of a Baroque person. Complementing this narrative, the music \u2013\u00a0composed by contemporaries of Kazimierz Jan Pawe\u0142 Sapieha (1637\u20131720) around the time the Sapieha Palace was being constructed \u2013\u00a0further deepens the understanding of the epoch.<\/p>\n<p>&nbsp;<\/p>\n<p>During the Baroque era, music, a constant companion to secular and ecclesiastical occasions, was played in Sapieha Palace as well, and is evidenced by a fresco of musicians adorning one of the halls at the palace. The two vocal pieces performed by Renata Dubinskait\u0117 were recorded in the Great Hall of the Sapieha Palace with the Swedish musician Karl Nyhlin, who played the theorbo \u2013 a string instrument \u2013\u00a0and the Baroque guitar. These pieces not only reflect the contrasts of the Baroque worldview, but also relate to the different zones of the Sapieha Palace ensemble.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>The first is the chaconne <i>Sans frayeur dans ce bois<\/i> by the French composer Marc-Antoine Charpentier (1643\u20131704). Charpentier is associated with Louis XIV, whose influence shaped the conception of the Sapieha Palace. The playful dance narrates the story of a girl who ventures fearlessly into a grove (or perhaps a Baroque garden?) and encounters the shepherd Tirsi, but remains undisturbed (the shepherd symbolises a connection to nature and naturalness). The girl ponders whether she should feel frightened. Moral norms would probably dictate caution when encountering a member of the opposite sex alone. However, being young and innocent of heart, she lacks an understanding of the potential social and sexual dangers of such an encounter.<\/p>\n<p>&nbsp;<\/p>\n<p>Later, an aria from the motet <i>Angelorum ad convivia<\/i> by the Italian composer Giovanni Legrenzi (1626\u20131690), known for his work at the Venice Saint Mark\u2019s Basilica, is heard. Italian artists were a major influence on the architecture, art, and music of the Grand Duchy of Lithuania in the 17th century. Legrenzi\u2019s motet explores the theme of the Blessed Sacrament, inviting the faithful to partake in the consumption of Christ\u2019s body and blood, thereby being united with God through a profound bodily experience. The second aria of the motet, which we hear at the end of the sound work, calls us to wash away our sins and to seek the salvation that comes to us in the form of this holy food, thus restoring us to perfection. The Sapieha Palace and monastery, crafted by Italian masters, likely served as venues for the performance of Italian music \u2013 a tradition that had been cultivated in the Grand Duchy of Lithuania since the time of Leon Sapieha (Leonas Sapiega) in the early 17th century.<\/p>\n<p>&nbsp;<\/p>\n<p>Playing in the background of the sound work is also included a fragment from the passacaglia for Baroque guitar by the Spanish composer Gaspar Sanz (1640\u20131710). Spanish influences reached the Sapieha Palace through the monks of the Trinitarian Order.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>RENATA DUBINSKAIT\u0116 studied art history and theory at the Vilnius Academy of Arts, defending her doctoral thesis in art history. She has worked as a curator at the Contemporary Art Centre, lectured at the Vilnius Academy of Arts, and written critical essays on contemporary art. Since 2017, she has focused on singing and early music, primarily from the Baroque era. She studied solo singing at the Lithuanian Academy of Music and Theatre in Vilnius and obtained her Master\u2019s degree in singing from the Vytautas Magnus University Music Academy in Kaunas.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>Since 2013, she has been the principal soloist of the international early music ensemble Canto Fiorito, producer of the ensemble and the International Kretinga Early Music Festival, member of the ensemble Duo Barocco and creator of concert programmes. Since 2023, she has been the art director of the early music ensemble Lux Maris. Dubinskait\u0117\u2019s 2021 solo album <i>Barbara Strozzi. La voce sola<\/i>, dedicated to the Baroque singer and composer, was released by Brilliant Classics (the Netherlands) and has been broadcast on BBC Radio, France Musique, US and Australian radio programmes.<\/p>\n<p>&nbsp;<\/p>\n<p>Renata Dubinskait\u0117 has performed solo recitals with the ensemble Canto Fiorito and has been featured in three to five soloist ensemble concerts across numerous European cities. Additionally, she has prepared seven roles in Baroque opera. Since 2019, she has been singing with the Choeur de\u00a0Chambre de Namur (Belgium) and the early music ensemble Cappella Mediterranea (France) in opera productions and concerts in major concert halls such as the Royal Opera House and the Chapel of Versailles, Dijon and Nancy opera houses, the Bozar in Brussels, the RadioFrance Concert Hall and the Champs-Elysees in Paris, the Auditorium in Lyon, the Victoria Hall in Geneva, and the National Auditorium of Madrid.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n                <\/div>\n              <\/div>\n              \n            <\/div>\n                \n\n          <\/li>\n        <\/ul>\n      <\/acc-ordion>\n          \n\n  <\/div>\n<\/div>\n\n\n\n<style>\n  #audio-work-block_67adee7a0d0e7 {\n          }\n\n  @media (min-width: 1180px) {\n    #audio-work-block_67adee7a0d0e7 {\n                }\n  }\n<\/style>\n\n<div id=\"audio-work-block_67adee7a0d0e7\" class=\"audio-work\n      pt-48 pt-dt-82\n   pb-48 pb-dt-82\">\n  <div class=\"audio-work__inner container container--mob grid\">\n\n    <div class=\"audio-work__title-wrapper pb-32 pb-dt-48\">\n              <h3 class=\"t-24 t-32 \">\n          LINA LAPELYT\u0116        <\/h3>\n      \n              <h2 class=\"t-24 t-32 \">\n          Dies Irae        <\/h2>\n      \n              <div class=\"t-24  \">\n          2024        <\/div>\n          <\/div>\n\n          <audio-player data-title=\"Dies Irae\" class=\"pb-32 audio-player audio-work__player\">\n\n        <button type=\"button\" class=\"unstyled-button audio-player__button audio-work__button\" data-play-button>\n          <span class=\"visually-hidden\">Play button<\/span>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path d=\"M36 34.0877V46.4796C36.0018 46.5785 36.0297 46.6751 36.0808 46.7598C36.1319 46.8445 36.2045 46.9142 36.2911 46.9619C36.3777 47.0096 36.4754 47.0336 36.5743 47.0315C36.6732 47.0294 36.7698 47.0013 36.8543 46.95L46.9849 40.754C47.0658 40.705 47.1328 40.636 47.1792 40.5536C47.2257 40.4712 47.2501 40.3782 47.2501 40.2836C47.2501 40.189 47.2257 40.0961 47.1792 40.0137C47.1328 39.9313 47.0658 39.8622 46.9849 39.8132L36.8543 33.6173C36.7698 33.566 36.6732 33.5379 36.5743 33.5358C36.4754 33.5337 36.3777 33.5577 36.2911 33.6054C36.2045 33.6531 36.1319 33.7228 36.0808 33.8075C36.0297 33.8922 36.0018 33.9888 36 34.0877Z\" stroke=\"white\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\"\/>\n<\/svg>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M38.75 33.5718C38.75 33.1576 38.4142 32.8218 38 32.8218C37.5858 32.8218 37.25 33.1576 37.25 33.5718V45.9468C37.25 46.361 37.5858 46.6968 38 46.6968C38.4142 46.6968 38.75 46.361 38.75 45.9468L38.75 33.5718ZM44.7502 33.5718C44.7502 33.1576 44.4145 32.8218 44.0002 32.8218C43.586 32.8218 43.2502 33.1576 43.2502 33.5718V45.9468C43.2502 46.361 43.586 46.6968 44.0002 46.6968C44.4145 46.6968 44.7502 46.361 44.7502 45.9468V33.5718Z\" fill=\"#F6F4F4\"\/>\n<\/svg>\n        <\/button>\n\n        <div class=\"audio-player__ui\">\n        \n          <span data-current-time class=\"audio-player__time\">0:00<\/span>\n\n          <input type=\"range\" data-seek-slider class=\"audio-player__seek\" max=\"100\" value=\"0\">\n\n                      <span data-duration class=\"audio-player__time audio-player__time--duration\">0:00<\/span>\n          \n        <\/div>\n\n        <audio controls preload=\"metadata\" data-audio class=\"visually-hidden\">\n          <source src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/3.-Lina-Lapelyte_DIena-ru\u0283ti.mp3\" type=\"audio\/mpeg\">\n          Your browser does not support the audio element.\n        <\/audio>\n\n      <\/audio-player>\n    \n    <div class=\"audio-work__info-wrapper t-20 pb-32 pb-dt-0\">\n\n                        <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                DURATION              <\/h4>\n                                      <div class=\"rich\">\n                <p><span style=\"font-weight: 400;\">4 min 26 s<\/span><\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                CREDITS              <\/h4>\n                                      <div class=\"rich\">\n                <p>Concept, music: Lina Lapelyt\u0117<\/p>\n<p>Vocals: Lina Lapelyt\u0117, Brothers of Saint John: Dismas, Paulius Juozapas and Reno Marija<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Sampling: Antanas Dombrovskij<\/p>\n<p>Audio mixing: Ignas Juzokas<\/p>\n<p>Recording of monks\u2019 voices: Ignas Juzokas<\/p>\n<p>Text:<i> Dies Irae <\/i>by Tommaso da Celano, 13th c. (Lithuanian translation by Pranci\u0161kus \u0160rubauskis, 1679)<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>Research, coordination: Povilas Gumbis<\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                LANGUAGE              <\/h4>\n                                      <div class=\"rich\">\n                <p>Lithuanian<\/p>\n              <\/div>\n                      <\/div>\n              \n    \n    <\/div>\n    \n          <acc-ordion class=\"audio-work__acc\">\n        <ul class=\"unstyled-list audio-work__list acc\">\n            \n          <li class=\"audio-work__item pb-30 pb-dt-20\" data-item>\n\n            <button aria-controls=\"content-1\" aria-expanded=\"false\" id=\"accordion-control-1\" data-button class=\"unstyled-button acc__button audio-work__item-button pt-24 pb-15 t-22\">\n              <span class=\"acc-item-title upper\">\n              <\/span>\n              <span class=\"acc-item-icon btn\" data-icon>\n                +\n              <\/span>\n            <\/button>\n\n            <div class=\"acc__item-content audio-work__item-content\" aria-hidden=\"true\" id=\"content-1\">\n\n              <div class=\"acc__item-inner pt-24 pb-24 t-20 rich\" data-inner>\n                <div>\n                  <p><i>Dies Irae<\/i> is an attempt to symbolically reestablish the connection between the Sapieha Palace and the Trinitarian Monastery, thereby restoring the historical unity of the architectural ensemble comprising the palace, the monastery, and the park. This unity was disrupted by the annexation of the Grand Duchy of Lithuania by the Russian Empire.<\/p>\n<p>&nbsp;<\/p>\n<p>The song, composed and performed by Lina Lapelyt\u0117, uses one of the earliest translations of the church hymn <i>Dies Irae<\/i> (Latin for \u2018Day of Wrath\u2019) into Lithuanian. The Latin poem, attributed to the Franciscan monk Tommaso da Celano, describes the Last Judgement Day, serving as a reference to the turbulent times of today. The voices in the background belong to the heirs of the Trinitarian monastery, the Brothers of Saint John: Dismas, Paulius Juozapas, and Reno Marija. The recording of the morning prayer, which begins with a knock on wood, recorded in the monastery chapel, transforms into a rhythmic accompaniment to the song: voices overlap, repeat, and at times get cut off. Like a manifestation of the historical pulse, it invites listeners not to dismiss abstracted language but to become immersed in it, to discover new possibilities of sound and melody, to hear the links between echoes of the past and realities of the present, with the monks\u2019 voices serving as a symbolic bridge. Against this backdrop of the monks\u2019 rhythmic voices, the singing artist\u2019s female voice offers a potential shift in dominance within the traditionally masculine context of the monastery and palace\u2019s history.<\/p>\n<p>&nbsp;<\/p>\n<p>The monks of the Trinitarian Order were invited to Lithuania by the Duke and Commander-in-Chief of the army, Kazimierz Jan Pawe\u0142 Sapieha (Kazimieras Jonas Sapiega). The first representatives of the Order arrived in Vilnius from Spain in 1693. Sapieha provided them with a foundation in Antakalnis, on the territory of his manor. A stone monastery and the Church of Jesus of Nazareth (now the Church of Christ the Redeemer) were built there. The monastery existed until 1864 when it was closed and handed over to the Russian army, while the church underwent conversion into a Russian Orthodox church. The northern gate of the park, serving as a direct pathway to the church and accentuating the visual continuity between the park\u2019s avenue and the Trinitarian monastery ensemble, was demolished. The construction of the Tsarist hospital buildings opposite the church dealt a final blow to the integrity of the monastery, the church, and the park. The Trinitarian Order has never returned to Lithuania. Presently, both the Church of Christ the Redeemer and the adjacent monastery are occupied by the Brothers of Saint John.<\/p>\n<p>&nbsp;<\/p>\n<p>The sound work uses an excerpt from <i>Dies Irae<\/i> translated into Lithuanian by Pranci\u0161kus \u0160rubauskis. Below is its translation in English:<\/p>\n<p>&nbsp;<\/p>\n<p>Day of wrath and doom impending!<\/p>\n<p>David&#8217;s word with Sibyl&#8217;s blending,<\/p>\n<p>Heaven and earth in ashes ending!<\/p>\n<p>&nbsp;<\/p>\n<p>Oh, what fear man&#8217;s bosom rendeth,<\/p>\n<p>When from heaven the Judge descendeth,<\/p>\n<p>On whose sentence all dependeth.<\/p>\n<p>&nbsp;<\/p>\n<p>Wondrous sound the trumpet flingeth;<\/p>\n<p>Through earth&#8217;s sepulchres it ringeth;<\/p>\n<p>All before the throne it bringeth.<\/p>\n<p>&nbsp;<\/p>\n<p>Death is struck, and nature quaking,<\/p>\n<p>All creation is awaking,<\/p>\n<p>To its Judge an answer making.<\/p>\n<p>&nbsp;<\/p>\n<p>Lo, the book, exactly worded,<\/p>\n<p>Wherein all hath been recorded,<\/p>\n<p>Thence shall judgement be awarded.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>LINA LAPELYT\u0116 is an artist, musician and composer. Her practice is rooted in music and performance and flirts with pop culture, gender stereotypes and nostalgia. Her works engage trained and untrained performers often in the act of singing through a wide range of genres such as mainstream music and opera. The singing takes the form of a collective and affective event that questions vulnerability and silencing.<\/p>\n<p>&nbsp;<\/p>\n<p>Lapelyt\u0117 holds a BA in classical violin from the Lithuanian Academy of Music and Theatre in Vilnius; a BA in Sound Arts from the London College of Communication, University of the Arts London; and an MA in Sculpture from the Royal College of Art in London. In 2019, her opera-performance <i>Sun &amp; Sea (Marina)<\/i>, created together with Rugil\u0117 Barzd\u017eiukait\u0117 and Vaiva Grainyt\u0117, and curated by Lucia Pietroiusti, won the Golden Lion award at the 58th Venice Biennale in 2019. In 2020 Lapelyt\u0117 received the Lithuanian National Culture and Art Prize.<\/p>\n<p>&nbsp;<\/p>\n<p>Lapelyt\u0117 has had solo shows at Frac des Pays de la Loire, Nantes; Lafayette Anticipations, Paris; Space, London. Her work has been shown at Biennale Gherd\u00ebina 8, Val Gardena; Haus der Kunst, Munich; MOCA, Los Angeles; Tai Kwun Contemporary, Hong Kong; Glasgow International; Riga Biennial \u2013 RIBOCA2; Kunsthalle Praha; National Gallery of Art, Vilnius; Moderna Museet, Malm\u00f6; Rupert, Vilnius; Serpentine Pavilion, London.<\/p>\n                <\/div>\n              <\/div>\n              \n            <\/div>\n                \n\n          <\/li>\n        <\/ul>\n      <\/acc-ordion>\n          \n\n  <\/div>\n<\/div>\n\n\n\n<style>\n  #audio-work-block_67adee7a1661c {\n          }\n\n  @media (min-width: 1180px) {\n    #audio-work-block_67adee7a1661c {\n                }\n  }\n<\/style>\n\n<div id=\"audio-work-block_67adee7a1661c\" class=\"audio-work\n      pt-48 pt-dt-82\n   pb-48 pb-dt-82\">\n  <div class=\"audio-work__inner container container--mob grid\">\n\n    <div class=\"audio-work__title-wrapper pb-32 pb-dt-48\">\n              <h3 class=\"t-24 t-32 \">\n          KRISTUPAS SABOLIUS        <\/h3>\n      \n              <h2 class=\"t-24 t-32 \">\n          Feast        <\/h2>\n      \n          <\/div>\n\n          <audio-player data-title=\"Feast\" class=\"pb-32 audio-player audio-work__player\">\n\n        <button type=\"button\" class=\"unstyled-button audio-player__button audio-work__button\" data-play-button>\n          <span class=\"visually-hidden\">Play button<\/span>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path d=\"M36 34.0877V46.4796C36.0018 46.5785 36.0297 46.6751 36.0808 46.7598C36.1319 46.8445 36.2045 46.9142 36.2911 46.9619C36.3777 47.0096 36.4754 47.0336 36.5743 47.0315C36.6732 47.0294 36.7698 47.0013 36.8543 46.95L46.9849 40.754C47.0658 40.705 47.1328 40.636 47.1792 40.5536C47.2257 40.4712 47.2501 40.3782 47.2501 40.2836C47.2501 40.189 47.2257 40.0961 47.1792 40.0137C47.1328 39.9313 47.0658 39.8622 46.9849 39.8132L36.8543 33.6173C36.7698 33.566 36.6732 33.5379 36.5743 33.5358C36.4754 33.5337 36.3777 33.5577 36.2911 33.6054C36.2045 33.6531 36.1319 33.7228 36.0808 33.8075C36.0297 33.8922 36.0018 33.9888 36 34.0877Z\" stroke=\"white\" stroke-width=\"1.5\" stroke-linecap=\"round\" stroke-linejoin=\"round\"\/>\n<\/svg>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path fill-rule=\"evenodd\" clip-rule=\"evenodd\" d=\"M38.75 33.5718C38.75 33.1576 38.4142 32.8218 38 32.8218C37.5858 32.8218 37.25 33.1576 37.25 33.5718V45.9468C37.25 46.361 37.5858 46.6968 38 46.6968C38.4142 46.6968 38.75 46.361 38.75 45.9468L38.75 33.5718ZM44.7502 33.5718C44.7502 33.1576 44.4145 32.8218 44.0002 32.8218C43.586 32.8218 43.2502 33.1576 43.2502 33.5718V45.9468C43.2502 46.361 43.586 46.6968 44.0002 46.6968C44.4145 46.6968 44.7502 46.361 44.7502 45.9468V33.5718Z\" fill=\"#F6F4F4\"\/>\n<\/svg>\n        <\/button>\n\n        <div class=\"audio-player__ui\">\n        \n          <span data-current-time class=\"audio-player__time\">0:00<\/span>\n\n          <input type=\"range\" data-seek-slider class=\"audio-player__seek\" max=\"100\" value=\"0\">\n\n                      <span data-duration class=\"audio-player__time audio-player__time--duration\">0:00<\/span>\n          \n        <\/div>\n\n        <audio controls preload=\"metadata\" data-audio class=\"visually-hidden\">\n          <source src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/4.-Kristupas-Sabolius_Puota-1.mp3\" type=\"audio\/mpeg\">\n          Your browser does not support the audio element.\n        <\/audio>\n\n      <\/audio-player>\n    \n    <div class=\"audio-work__info-wrapper t-20 pb-32 pb-dt-0\">\n\n                        <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                DURATION              <\/h4>\n                                      <div class=\"rich\">\n                <p><span style=\"font-weight: 400;\">52 min 4 s<\/span><\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                CREDITS              <\/h4>\n                                      <div class=\"rich\">\n                <p>Concept, script: Kristupas Sabolius<\/p>\n<p>Sound design: Vytas Rasimavi\u010dius<\/p>\n<p>Radio hosts: Deimant\u0117 Bulbenkait\u0117 and Audrius Pocius<\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                LANGUAGE              <\/h4>\n                                      <div class=\"rich\">\n                <p>Lithuanian<\/p>\n              <\/div>\n                      <\/div>\n              \n    \n    <\/div>\n    \n          <acc-ordion class=\"audio-work__acc\">\n        <ul class=\"unstyled-list audio-work__list acc\">\n            \n          <li class=\"audio-work__item pb-30 pb-dt-20\" data-item>\n\n            <button aria-controls=\"content-1\" aria-expanded=\"false\" id=\"accordion-control-1\" data-button class=\"unstyled-button acc__button audio-work__item-button pt-24 pb-15 t-22\">\n              <span class=\"acc-item-title upper\">\n              <\/span>\n              <span class=\"acc-item-icon btn\" data-icon>\n                +\n              <\/span>\n            <\/button>\n\n            <div class=\"acc__item-content audio-work__item-content\" aria-hidden=\"true\" id=\"content-1\">\n\n              <div class=\"acc__item-inner pt-24 pb-24 t-20 rich\" data-inner>\n                <div>\n                  <p>Deimant\u0117 Bulbenkait\u0117 and Audrius Pocius, the hosts of the radio programme Feast, interview philosopher Kristupas Sabolius. He presents a strange and confusing series of incidents in which episodes from his own life intertwine with the storylines of the Baroque period in the Grand Duchy of Lithuania. The central figure of the narrative is Teresa Korwin Gosiewska (Teres\u0117 Korvin Gosievskyt\u0117), an overlooked noblewoman of Lithuania and a significant figure in the history of the Sapieha Palace. While many of the historical facts and personal details discussed in the conversation are rooted in reality, fiction begins to play a significant role as the interview progresses, allowing for the perception of historical reality through a new lens. \u2018In order to know, we must imagine for ourselves\u2019, remarked the French philosopher and art historian Georges Didi-Huberman. Imagination is sparked when anonymous facts transform into personal experiences. It might be argued that in this programme, everything is imaginary and real at the same time.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>KRISTUPAS SABOLIUS is a professor of philosophy at the Institute of Philosophy of Vilnius University and a research affiliate at MIT Climate Visions (US). In his research, Sabolius examines the theories and practices of imagination as conceptual tools to unlock environmental, sociocultural, and ontological problems. He has published numerous essays and is the author or editor of seven scientific monographs.<\/p>\n<p>&nbsp;<\/p>\n<p>Sabolius collaborated in curating several exhibitions, including <i>Swamp School,<\/i> which represented Lithuania at the 16th Venice Architecture Biennale in 2018, and was curated by Nomeda and Gediminas Urbonas. In 2017, he co-founded The School of Creativity \u2013 an interactive platform of education that is designed to foster creative takes on traditional school curricula, for which he continues to lecture and host projects. Sabolius is also an active public intellectual and a writer of novels, theatre plays and film scripts, including <i>The Gambler<\/i> (2014) and <i>Invisible<\/i> (2019), both co-written with director Ignas Jonynas.<\/p>\n                <\/div>\n              <\/div>\n              \n            <\/div>\n                \n\n          <\/li>\n        <\/ul>\n      <\/acc-ordion>\n          \n\n  <\/div>\n<\/div>\n\n\n\n<style>\n  #audio-work-block_67adee7a16693 {\n          }\n\n  @media (min-width: 1180px) {\n    #audio-work-block_67adee7a16693 {\n                }\n  }\n<\/style>\n\n<div id=\"audio-work-block_67adee7a16693\" class=\"audio-work\n      pt-48 pt-dt-82\n   pb-48 pb-dt-82\">\n  <div class=\"audio-work__inner container container--mob grid\">\n\n    <div class=\"audio-work__title-wrapper pb-32 pb-dt-48\">\n              <h3 class=\"t-24 t-32 \">\n          ANDRIUS ARUTIUNIAN        <\/h3>\n      \n              <h2 class=\"t-24 t-32 \">\n          Delights        <\/h2>\n      \n              <div class=\"t-24  \">\n          2024        <\/div>\n          <\/div>\n\n          <audio-player data-title=\"Delights\" class=\"pb-32 audio-player audio-work__player\">\n\n        <button type=\"button\" class=\"unstyled-button audio-player__button audio-work__button\" data-play-button>\n          <span class=\"visually-hidden\">Play button<\/span>\n          <svg width=\"81\" height=\"81\" viewBox=\"0 0 81 81\" fill=\"none\" xmlns=\"http:\/\/www.w3.org\/2000\/svg\">\n<circle cx=\"40.5\" cy=\"40.2593\" r=\"40\" fill=\"#111111\"\/>\n<path d=\"M36 34.0877V46.4796C36.0018 46.5785 36.0297 46.6751 36.0808 46.7598C36.1319 46.8445 36.2045 46.9142 36.2911 46.9619C36.3777 47.0096 36.4754 47.0336 36.5743 47.0315C36.6732 47.0294 36.7698 47.0013 36.8543 46.95L46.9849 40.754C47.0658 40.705 47.1328 40.636 47.1792 40.5536C47.2257 40.4712 47.2501 40.3782 47.2501 40.2836C47.2501 40.189 47.2257 40.0961 47.1792 40.0137C47.1328 39.9313 47.0658 39.8622 46.9849 39.8132L36.8543 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     <\/button>\n\n        <div class=\"audio-player__ui\">\n        \n          <span data-current-time class=\"audio-player__time\">0:00<\/span>\n\n          <input type=\"range\" data-seek-slider class=\"audio-player__seek\" max=\"100\" value=\"0\">\n\n                      <span data-duration class=\"audio-player__time audio-player__time--duration\">0:00<\/span>\n          \n        <\/div>\n\n        <audio controls preload=\"metadata\" data-audio class=\"visually-hidden\">\n          <source src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/5.-Andrius-Arutiunian_Malonumai.mp3\" type=\"audio\/mpeg\">\n          Your browser does not support the audio element.\n        <\/audio>\n\n      <\/audio-player>\n    \n    <div class=\"audio-work__info-wrapper t-20 pb-32 pb-dt-0\">\n\n                        <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                DURATION              <\/h4>\n                                      <div class=\"rich\">\n                <p><span style=\"font-weight: 400;\">32 min 45 s<\/span><\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                          <h4 class=\"upper pb-5\">\n                CREDITS              <\/h4>\n                                      <div class=\"rich\">\n                <p>Composition: Andrius Arutiunian<\/p>\n<p>Voice: Alix Hugonnier<\/p>\n              <\/div>\n                      <\/div>\n                  <div class=\"\">\n                                      <div class=\"rich\">\n                <p>&nbsp;<\/p>\n<p>This sound work was recorded using binaural sound, which is fully experienced when listening through headphones.<\/p>\n              <\/div>\n                      <\/div>\n              \n    \n    <\/div>\n    \n          <acc-ordion class=\"audio-work__acc\">\n        <ul class=\"unstyled-list audio-work__list acc\">\n            \n          <li class=\"audio-work__item pb-30 pb-dt-20\" data-item>\n\n            <button aria-controls=\"content-1\" aria-expanded=\"false\" id=\"accordion-control-1\" data-button class=\"unstyled-button acc__button audio-work__item-button pt-24 pb-15 t-22\">\n              <span class=\"acc-item-title upper\">\n              <\/span>\n              <span class=\"acc-item-icon btn\" data-icon>\n                +\n              <\/span>\n            <\/button>\n\n            <div class=\"acc__item-content audio-work__item-content\" aria-hidden=\"true\" id=\"content-1\">\n\n              <div class=\"acc__item-inner pt-24 pb-24 t-20 rich\" data-inner>\n                <div>\n                  <p><i>Delights<\/i> is a soundtrack based on the pseudo-scientific phenomenon of the early internet: audio-psychotropic substances inducing altered states of consciousness through specific frequencies and psychoacoustic perturbations. As in the case of auditory drugs, <i>Delights<\/i> employs binaural rhythms as one of the techniques of sound production capable of causing psychedelic states. At the same time, the work draws inspiration from historical pharmacopoeias spanning the 15th to 17th centuries, incorporating blends of both real and fictional herbs, minerals, and synthetic substances documented within them. These often fictitious tinctures were supposed to function similarly to audio-psychotropic substances, manipulating the listener\u2019s (or the patient\u2019s) mood and emotional state, thereby altering their perception of reality.<\/p>\n<p>&nbsp;<\/p>\n<p>Since the 18th century, a much stricter understanding of medicine has prevailed in the Western world. However, the interconnection between healing, pleasure, and sacred rituals persisted within folk medicine, esoteric, and shamanistic practices. In the mid-20th century, this tradition saw a resurgence through popular counter-cultural and New Age movements, where therapeutic and psychotropic substances are often associated with auditory and visual stimuli. <i>Delights<\/i> acts as a similarly intoxicating guide to the Sapieha Palace, capable of transforming the listener, and thus their experience of the palace space, much like the auditory form of an ancient pharmacopoea.<\/p>\n<p>&nbsp;<\/p>\n<p>&nbsp;<\/p>\n<p>ANDRIUS ARUTIUNIAN is an Armenian-Lithuanian artist and composer, holding a BA and MA in music composition from the Royal Conservatory of The Hague. He works with hybrid sound forms in installations, films, sculptures and performances. In his practice, Arutiunian explores sonic dissent, aural cosmologies, and vernacular histories. His research experiments with speculative instruments, non-Western knowledge, and alternate methods for world-ordering. Through playful investigation of hypnotic and enigmatic forms, his installations, films, and performances challenge the concepts of musical and political attunement.<\/p>\n<p>&nbsp;<\/p>\n<p>In 2022 Andrius Arutiunian represented Armenia at the 59th Venice Biennale with the solo show <i>Ghar\u012bb<\/i>. He has also shown work at the 14th Shanghai Biennale; Centre Pompidou, Paris; the 14th Kaunas Biennial; 2nd Riyadh Biennale; Med\u016bza art space, Vilnius; M HKA, Antwerp; FACT, Liverpool; Stroom Den Haag, The Hague; documenta 14 Parliament of Bodies, Kassel; Contemporary Art Centre, Vilnius; and elsewhere. He is a DAAD fellow in Berlin in 2024.<span class=\"Apple-converted-space\">\u00a0<\/span><\/p>\n                <\/div>\n              <\/div>\n              \n            <\/div>\n                \n\n          <\/li>\n        <\/ul>\n      <\/acc-ordion>\n          \n\n  <\/div>\n<\/div>\n\n\n\n<style>\n  #item-text-content-block_67adee7a166bc {\n          }\n\n  @media (min-width: 1180px) {\n    #item-text-content-block_67adee7a166bc {\n                }\n  }\n<\/style>\n\n<div id=\"item-text-content-block_67adee7a166bc\" 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>Curator: Asta Vai\u010diulyt\u0117<\/p>\n<p>Sound works: Andrius Arutiunian, Renata Dubinskait\u0117, Monika Kalin, Lina Lapelyt\u0117, Kristupas Sabolius<\/p>\n<p>Sound mastering: Pranas Gudaitis (audiomastering.lt)<\/p>\n<p>Lithuanian language editing: Dang\u0117 Vitkien\u0117<\/p>\n<p>English translation: Emilija Ferdmanait\u0117<\/p>\n<p>English language editing: Gemma Lloyd<\/p>\n<p>Graphic design: Vytautas Volbekas<\/p>\n<p>Communications: Denisas Kolomyckis, Aist\u0117 Ra\u010daityt\u0117, Emilija Filipenkovait\u0117<\/p>\n<p>Thanks to: R\u016bta Birut\u0117 Vitkauskien\u0117, Laura Misi\u016bnait\u0117, Virginija Janu\u0161kevi\u010di\u016bt\u0117, Giedr\u0117 Stabingyt\u0117, Viktorija Mi\u0161tautait\u0117<\/p>\n      <\/div>\n    \n  <\/div>\n\n<\/div>\n\n\n\n<style>\n  #item-logos-list-block_67adee7a166da {\n          }\n\n  @media (min-width: 1180px) {\n    #item-logos-list-block_67adee7a166da {\n                }\n  }\n<\/style>\n\n<div id=\"item-logos-list-block_67adee7a166da\" class=\"item-logos-list pt-48 pb-48\">\n  <div class=\"container container--mob item-logos-list__inner\">\n\n          <h2 class=\"t-20 t-dt-28 pb-16 pb-dt-70 upper\">\n        FINANCED BY      <\/h2>\n    \n    <div class=\"item-logos-list__grid grid\">\n    \n              \n                      <div class=\"item-logos-list__item\">\n                    \n                          <img loading=\"lazy\" decoding=\"async\" width=\"1306\" height=\"506\" src=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/LTK_Logotipas_Juodas2.png\" class=\"item-logos-list__logo\" alt=\"\" srcset=\"https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/LTK_Logotipas_Juodas2.png 1306w, https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/LTK_Logotipas_Juodas2-300x116.png 300w, https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/LTK_Logotipas_Juodas2-1024x397.png 1024w, https:\/\/sapiegurumai.lt\/wp-content\/uploads\/2024\/03\/LTK_Logotipas_Juodas2-768x298.png 768w\" sizes=\"auto, (max-width: 1306px) 100vw, 1306px\" \/>            \n                          <\/div>\n            \n\n              \n    <\/div>\n  <\/div>\n<\/div>\n","protected":false},"featured_media":1689,"template":"","exhibition_category":[],"class_list":["post-2394","exhibition","type-exhibition","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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