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Lithuania will be represented at the 54th Venice Art Biennale by Darius Mikšys.

I don’t think you could receive a clear answer. (Pauses.) There was a time when I educated myself through a work of art. To do art always means to solve some problems. You develop, select, control. That means something for me each time.

Looking at your projects and your way of thinking, I get the impression that your approach to art opens up an incredible number of possibilities, and it’s very engaging for you to notice and emphasize relations between objects, people, and processes.

Yes, but I wouldn’t call that art. (Pauses.) Let’s turn it like this: For a long time I completely stopped using the word “art” in relation to what I do.

And you didn’t replace “art” with anything?

Right, and it worked perfectly. Recently I began to use this word again, but for a time it didn’t cause absolutely any problems. Perhaps in this interview we could leave out that word again?

OK, but then describe with other words what it is that you do? Is it a creative process?

Any process is creative, otherwise it wouldn’t be a process. 

You’ve been chosen to represent the country at the Venice Biennale. And that’s an art biennale. Therefore the project Behind the White Curtain is a work of art.

Well, yes. This work is art. I don’t know how to get out of this now. Can we erase this? Because I promised not to use that word anymore… (Laughs.) I’d rather talk about design. It’s possible to design in various fields—in industrial design, you create objects, but you can also design performances, processes, texts. Anything. In this respect I sooner see myself as a designer.

Speaking of the Venice Art Biennale, you will create a sort of private gallery milieu, which will compile and display those works by Lithuania artists which have received financial support from the state in the last decade.

Yes, but the gallery isn’t the main idea. The concept is to create a metaphorical mirror for the state and society, where they would be reflected or metaphorically see themselves. This takes place as follows: the state [from 1992 to 2010. –A. I.] selected artists to support, but I combined them in a catalogue, where they can all be see in one place.

Were artists interested in collaborating and participating in your project?

Yes, very. Two-thirds of the total number of grant recipients will participate. 173 artists. Each of them will have one work, created at approximately the same time when the funding was received, taking into account that sometimes it is difficult to define a fixed moment of creation for works.