Critics’ Picks

“24/7: Wilno–Nueva York”. Installation view.

“24/7: Wilno–Nueva York”. Installation view.


“24/7: Wilno–Nueva York”

Contemporary Art Centre
Vokieciu 2
September 12–November 2, 2003

“. . . To interact with myriad flows and actions happening simultaneously, a continuous invention of new ways of living and difference-friendly environments“—this exhibition's introductory text isn’t just another blurb. ”24/7,“ which has generated enough ideas and brought together enough artwork to fill a one-year program at a good-size museum, takes you in with a vibrant and well-conceived grouping of contributions from both sides of the Atlantic and is both visually seductive and politically discursive. Under curators Kestutis Kuizinas and Raimundas Malasauskas’s open-ended umbrella concept, the CAC's galleries reflect subthemes like translingual relations, cultural exploration, and urban constructions. Some spaces have been transformed into niches for socializing, while others (such as Jennifer Allora and Guillermo Calzadilla’s chamber filled with flashes of colored light) are more conducive to contemplation. It's not easy to highlight all the noteworthy pieces, which include performance by Martha Rosler, drawings by Roger Welch, and documentation of Tehching Hsieh’s ”One Year Performances" (1978–1986). The videos—like Derrick Adam’s short and sweet Party Crasher, 2001, and Leon Grodski’s Great Balls of Fire, 2001, which follows a homeless man around New York in the immediate aftermath of the attack on the World Trade Center—look particularly good. “24/7” hinges on the electrifying communication between these and other very different works.