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Chief Curator of The National Gallery of Art Vilnius - Lolita Jablonskiene.

He has contacted artists who have received state financing from the Lithuanian Culture Ministry in the last two decades (1992–2010), and asked them for permission to use their financed works in the exposition. A collection will be compiled from these works which will then be brought to Venice and stored in a warehouse. The works will be presented to pavilion visitors in a staged commercial gallery setting with a specially published catalogue. If a visitor becomes interested in any of the works, the artwork will be removed from the warehouse—actually hidden behind a white curtain right there in the pavilion—and displayed in real time.

The beginning and end of Darius Mikšys’s art projects are always open. In other words, he doesn’t force a certain approach. He is interested in how a work itself develops from its original idea, which grows like a snowball. Darius doesn’t determine any apriori conditions for his ideas. In a sense, I admire this approach. But at the same time, the project will be presented at the Venice Biennale, which is supervised by a state institution (the Lithuanian Contemporary Art Center), so there are individual elements that I am curious about—I’m curious to see how they will work. I’d like to see a more clearly formulated approach in how a state-financed institution and a state-supported artist relate to a commercial gallery space. I’d like to see what is intended by this, so that the gallery does not just become an empty signifier for a “cool space.” And why precisely this concept—an art dealer’s space? Yet it’s clear that this work, too, by Darius Mikšys is a study with an open beginning and an unpredictable ending.

I’ll ask you this as an art critic: what does it mean to write good art criticism? What should a reader gain from good art criticism? 
Art critics write for various publications. There is a different between writing for an international art magazine or writing for a local paper with a wide readership. Each context has different requirements. That’s why you can’t assert that articles about modern art should always be addressed to the wide masses and explain contemporary works of art in an informal style, so that people can understand it and grow accustomed to it. The discourse of art is a discipline in and of itself, just like philosophy or cultural theory. It needs a space for the development of a professional discourse.

Before I started working at the gallery, I mostly wrote for a professional audience. In my texts, I always tried to look at art in a specific context, or, more precisely, in several contexts. I wanted for the reader to see my understanding, too, about how a specific fact of art is situated in the link with culture, politics, and aesthetics. But right now my experience as an art critic is expressed mostly when giving interviews—that is, when talking about what we do at the gallery and why.