The Deimantas Narkevičius exhibition at Secession Vienna invites visitors to engage with a thought-provoking collection of films. Explore how this Lithuanian artist examines collective history, particularly within Eastern Europe, and challenges established narratives. The artworks reconstruct individual biographies, offering unique perspectives on memory and the evolving role of film as a documentary medium.
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This exhibition features films by Lithuanian artist Deimantas Narkevičius, who explores the experience of collective, particularly Eastern European, history. The show presents four recent films that reconstruct and interweave individual biographies with established historical narratives, questioning the perception of history and the role of film as a documentary medium.
Deimantas Narkevičius's exhibition 'Among the Things We Touched' delves into his engagement with collective history, particularly within the politically and culturally dynamic context of post-Soviet Eastern European states. Narkevičius identifies a contemporary void where ideological perception is neither guided by reflection on the past nor by a vision for the future. He constructs history, both past and future, through an active relationship with individual biographies, where protagonists reconstruct and interweave their memories with a generally accepted linear understanding of history. The exhibition showcases four of his recent films. 'The Role of a Lifetime' (2003) combines an interview with filmmaker Peter Watkins, landscape drawings from the Gruto Park (a repository for socialist figures), and found footage of everyday life in Brighton, exploring the relationship between reality and fiction in film. 'Once in the XXth Century' (2004) re-contextualizes archival footage of a Lenin statue's demolition to depict its erection, offering an ironic commentary on recurring ideological manifestations and historical revisionism. 'Revisiting Solaris' (2007) intertwines the narrative of an astronaut from Tarkovsky's film with early 20th-century Lithuanian symbolic art. Finally, 'Disappearance of a Tribe' (2005) uses private photographs to construct a cinematic montage of his father's life, reflecting on a lost sense of communal living.
Visitors are directed to an external ticketing platform for purchases. Further details on admission are not specified on this exhibition page.
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