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The Champagne Cage at Galerija Vartai, Vilnius 0

Photos: Arnas Anskaitis

- Der Champagnerkäfig (The Champagne Cage) -
Galerija Vartai, Vilnius
Through 10 October, 2015

Adrian Buschmann
Anne Cathrin Ulikowski
Dörte Oppermann
Lilli Thießen

On 8 September, the exhibition Der Champagnerkäfig (The Champagne Cage) opened at Galerija VARTAI. A great company of artists – Adrian Buschmann (b. 1976, Poland), Anne Cathrin Ulikowski (b. 1980, Germany), Dörte Oppermann (b. 1942, Germany) and Lilli Thießen (b. 1983, Germany) – are taking part in this exhibition, and it all started when Laura Rutkutė Vartai met Lilli Thießen in Vienna last year. They decided to work together on a project, and the idea was to do a show with Adrian Buschmann. The size of the gallery seemed like a great playground, and in the development process of the concept for the exhibition Der Champagnerkäfig, they also asked Anne Cathrin Ulikowski and Dörte Oppermann to join – Ulikowski's and Oppermann's approach and work were interesting in regards to the chosen theme.

In this exhibition, the participating artists share an approach – at the same time both critical and dreamlike – to the phenomena of the contemporary art market, to the status of the artist, to identity and career development, and to the stereotypes connected with these subjects. asked artist Lilli Thießen, who is also a curator of the exhibition – What is the main inference to be revealed in this exhibition? Thießen answered that there isn't a “find the message in the bottle” solution, but she gave a really tangible hint as to the problematics addressed: “In our case, it's a skeptical one which still has the guts to be humorous about this topic. The aura of a fairy-tail reflects the dreaminess of a world that sometimes seems isolated from the rest; it shows dangers of decay, but it also has the power to create possibilities for interpretation, translation, and action.”

The works presented in the exhibition seek to seduce the viewers and bewitch them. The artists' goal is to make sense of and define their identity in a concrete situation, to make use of history and contemporary art trends, and to crystallize the unavoidable probability of paradoxes and deal with them – both in their creative work and everyday lives.

We were also interested in the physical layout for this exhibition. Lilli Thießen revealed to us that here is a cable that connects the rooms and hangs loosely in the gallery, then ends up in the little champagne cage to give energy to a fuzzy light.  “The idea of connection and interrelation between the works creates the physical layout for the exhibition. They converse with one another, and sometimes, they exhale a heavy breath while they do so.”