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CAC Sculpture Yard
Curator: Kęstutis Kuizinas
The CAC Sculpture Yard was established in 2017, marking the Centre’s 25th anniversary. To implement the project, the decision was made to return to the original idea of the building’s architect Vytautas Edmundas Čekanauskas – a project that included an open yard dedicated to exhibiting sculptures outdoors. The establishment of a sculpture yard in a space designed for this purpose restores the integrity and vision of the CAC architectural ensemble, considered to be a valuable heritage object.

Today, this changing exhibition space is in the Old Town of Vilnius, is available to visitors free of charge where they can experience artworks by Lithuanian and international artists. Many of the artists whose works are presented in the yard are closely related to the activities of the CAC, while some of the sculptures on display have previously been shown in exhibitions organised by the CAC.

The works currently on view in the CAC Sculpture Yard include sculptures by artists Antanas Gerlikas, Vaiva Grainytė, Donatas Jankauskas, Žilvinas Landzbergas, Beatričė Mockevičiūtė, Robertas Narkus, Mindaugas Navakas, Pakui Hardware, Felipe Braga, Maria Loboda, Fernando Sánchez Castillo and Augustas Serapinas.

CAC Sculpture yard is open every day from noon to 8pm.

Antanas Gerlikas
Constructions, 2016

These sculptural objects, first presented in Antanas Gerlikas’ solo exhibition ‘Dunes’ at the CAC in 2016, are reconstructions of structures seen by the artist in a dream. They arise as a monument to the voice from the dream and here function as a road sign for communication with something far away, high above, and anywhere but here.

Donatas Jankauskas
Sneaker, 2016
Polystyrene, polurea

Donatas Jankauskas’ works often turn into anthropomorphic personages – anthropoids that reinterpret the art of M. K. Čiurlionis or protagonists of the film ‘Planet of the Apes’, or other tremendous, zoomorphic figures, that have temporarily transformed many streets or buildings. Jankauskas’ sculpture, King Kong’s lost sneaker, which has found its place in the CAC yard, returns to audiences in Vilnius, having been previously presented in the exhibition, organised by the Modern Art Centre (currently – MO museum), as a farewell to the ‘Lietuva’ cinema and in the centre of the creative industries ‘Pakrantė’.

Žilvinas Landzbergas
Signboard, 2016
Steal net, tin

Landzbergas’ steel net and tin sculpture embodies an abstract tool resembling a trumpet or a nail, which is directed towards the inscription ‘ŠMC’ (CAC). It is reminiscent of a type of signage typical of modernist factory buildings, which not only state the name of an institution, but also illustrate the work or products produced by the factory. This sculpture was created on the occasion of the CAC exhibition ‘Random Rapid Heartbeats’ (curator Kęstutis Kuizinas), which took place at the Tallinn Kunsthalle in 2016 – an institution with a similar function to the CAC. For a few hours it was exposed on the roof of the modernist kunsthalle, which was built between the two World Wars, and became a prank whereby the CAC ‘took over’ the Tallinn Kunsthalle, while reminding the community of the two art institutions and two states.

Mindaugas Navakas
Make a way for a smaller one, 2017

Navakas’ sculpture in the central part of the yard is made from various kinds of granite, which use contrasting techniques of surface processing: cutting and burning of huge stone pieces combined with glazed surfaces. This six-part sculptural composition, weighing more than 50 tonnes, creates a consonant architectural unity in the CAC Sculpture Yard. The mass of the work evokes viewers’ fantasies and speaks about the importance of the notion of size to the artist. Relations between the sculpture’s parts and the rigorous materiality creates a playful contrast with the paradoxical and openly ironic title of the work.

Pakui Hardware
Inspirations, 2017
Engraved drawing on the Plexiglas, LED system, Austrotherm XPS polystyrene, aluminum profile, PVC print, transport belts, State Air Quality Control Station No. 0001
Architects: Ona Lozuraitytė and Petras Išora

The installation by the artist-duo Pakui Hardware, has been created specifically for the air quality control station in the CAC Sculpture Yard, and plays with the tools of city advertising aesthetics. It creates an ambiguous and slightly ironic invitation for viewers to become acquainted with new accessories of the future – various breath filters that protect citizens from constant air pollution. The artists have used drawings of several filter patents and proposed some examples of the accessories of the future.

Felipe Braga
Functional work #4 (day for night), 2015-2017
Concrete, wood, glass, window film

Brazilian sculptor Felipe Braga’s continuous work, Functional Work #4 (Day for Night), was originally displayed in the group exhibition ‘Unanimous Night’ held at the CAC in Summer 2017, is a copy of Lina Bo Bardi’s original design of display easels created for the São Paulo Museum of Art in 1968, and covered with perforated thermal insulation film. Alongside the architect’s project, the work also reflects on a remark made by Claude Lévi-Strauss in 1920, concerning radical changes in Latin America cities and how the superficial joyfulness of their rapidly erected neighbourhoods’ contrasts with the original urban environment. The blue-tinted film, commonly used on commercial buildings today, simultaneously reflects and filters the environment, transporting both authors’ ideas into the problematics of contemporaneity: the themes of gentrification, shallow planning strategies and dissolution of communities.

Maria Loboda
Public virtues – private vices, 2018
European beech trees, steel, crystals

Maria Loboda explores concepts of the transcendental and their manifestations within diverse belief systems, arcane objects, archaeology, architecture, religion and art. Her sculptures are puzzles, which consist of marks denoting experiences of transition and transformation. Maria Loboda creates riddles and enigmatic spaces that lead deep into the layers of forgotten historical narratives, and refer to the current state of things. Her sculpture for the CAC Sculpture Yard comprises a collection of such elements and includes the beech – one of the most archaic Northern trees – as well as steel, semiprecious stones, and notional water – all of which carry manifold references to ancient and modern mythologies. Their junction in the shape of a dysfunctional fountain play with the possibility of awakening the dormant or phantasmal vigour of this Vilnius courtyard.

Fernando Sánchez Castillo
Guernica Syndrome - Azor, 2012-2018
Aluminium, steel, bronze

Guernica Syndrome – Azor by Fernando Sánchez Castillo is characteristic of the artist’s intertwining of the parallels of history, politics and culture. The material used for this installation is not a random array of metals – it utilizes parts of Azor, the former yacht of Francisco Franco, a totalitarian dictator who governed Spain between 1939 and 1975, which have been processed into irregular cubes of a similar volume by a recycling plant. Azor was used not only as a representational vessel and site for international negotiations, but was also exploited for tourism by subsequent rulers of Spain, provoking controversial responses within society.

Referencing the famous painting by Pablo Picasso in its title, the work actually employs an opposite method than the one used by the painter – instead of revealing the scale of a painful event through the language of geometry, Castillo utilises it to neutralise history, creating a flexible composition with undertones of absurdity. The difficult historical and political origin of the material creates a complex piece – a problematic monument and a parody of it at the same time.

Beatričė Mockevičiūtė
Asukas, 2019
Stainless steel

Beatričė Mockevičiūtė associates her work with an opportunity to experience what is often translucent and ephemeral in everyday life. The CAC Sculpture Yard presents part of the artist's ongoing project ‘Asukas’. The project was first launched in 2018 in the Lithuanian Composers' Union House, and later presented in the CAC Reading Room and terrace in 2019. The title of the series, “Asukas”, is a Finnish word meaning ‘resident’, here it symbolises one of the translucent everyday characters that unites the architectural creations of Alvaro Aalto and Vytautas Edmundas Čekanauskas: urban surfaces and traces of light.

Augustas Serapinas
Chair for the Invigilator (white/sky blue), 2019
Painted wood, umbrella

Chair for the Invigilator is a series of elevated chairs based on those used by lifeguards on bathing beaches. Often of improvised design, they epitomise the pragmatic creativity admired by the artist. Serapinas’ chairs are intended for use by the exhibition invigilators: normally invisible in the crowd, they appear as if enthroned, bestowed with a theatrical status that allows them to survey the audience below. The artwork was commissioned for the 58th Venice Biennale ‘May You Live in Interesting Times’ (curator Ralph Rugoff), where it was first presented in 2019.

Robertas Narkus
Dèpendance, 2019
Airport runway lights and mixed media installation

Reminiscent of a pergola by its shape and function, Dèpendance was designed in collaboration with architect Linas Lapinskas. The integration of airport runway lights, formerly used in Vilnius Airport, touches upon notions of orientation and guidance. In a multi-layered historical context of the country, the work reflects on the complex past while projecting a sense of direction and care into the present and future. An almost identical work was simultaneously installed at both the CAC and in Ramybes Park as part of the Kaunas Biennial in 2019.

Vaiva Grainytė
Stars Full of Bacteria, 2019
Print on PVC canvas

Vaiva Grainytė’s Stars Full of Bacteria is the first text-based sculpture to be shown in the CAC Sculpture Yard. The poem-epilogue, written by the artist, writer, poet and winner of the Venice Biennale Golden Lion, forms part of her collection of poetry ‘Gorilla Archives’, published by the Lithuanian Writers’ Union Publishers in 2019. The piece becomes part of a temporary partition that was created after the demolition of a brick fence that separated the CAC Sculpture Yard from Mėsinių Street. The haiku, dealing with transformation and change and having acquired a sculptural body in this space, inherits extra layers of meaning: symbolically reflecting the act of demolition and waiting for the reconstruction of the CAC building, as well as depicting the situation of present time; a subject of constant change.

Exhibition is supported by Lithuanian Council for Culture and The Ministry of Culture of the Republic of Lithuania

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