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

But I allowed each artist to chose precisely which of his or her works to present. My goal is to show this totality of works as fully and clearly as possible. Various media are represented, including installations and video works.

But the works in the pavilion will not be on display like at an exhibit, but rather in a catalogue. Visitors will have the chance to inquire about a certain work, which will then be brought out from backstage. Is that correct?

Many of the artists…(pauses, as if considering all 173 of the participants)…yes, I think that several of the artists could criticize or object to the fact that their works were displayed on the walls or set up on the floor in a way that they didn’t like. That’s why there’s this performance similar to a gallery. Because this is what happens at galleries: works are either displayed first in a catalogue, or there isn’t a catalogue at all, just names and titles from which to choose what to see. In our catalogue, each artist has been given one double-page spread.

Though you stress that the similarity to a gallery isn’t the main idea, nonetheless I associate a gallery with a private exhibit, whose goal is to sell works of art. Doesn’t this image contrast with the involvement of the state and its financially supported artists?

In our case that wouldn’t be this private gallery, but rather funds and private collections that don’t sell works, but buy them. I’m not asserting that our compiled works are not for sale, but in this case that is not so important.

What encouraged you to participate in the selection competition for the Lithuanian pavilion?

This is my second time; I participated in the competition for the first time six or seven years ago. This time you could call it a coincidence of circumstances. The idea for the project is very old—I started working on it five or six years ago. During the time for submitting entries, I wasn’t in Vilnius. I called Kestutis [Kestutis Kuizinas, director of the Lithuanian Contemporary Art Center –A. I.] and asked if he was interested, and if he’d  prepare the project application. Somehow we quickly arrived at the decision to participate in the competition. That’s why you could say that everything happened coincidentally or even accidentally. No matter what we discussed, there was barely any time. I had a clear idea, the project had been around a long time and was already developed, yet there wasn’t even any time for an email correspondence, that’s why I quickly had to decide. Speaking of competitions, they require a large investment without any guarantee that you’ll win. What is more, there is only one opportunity to take part at Venice. I doubt you can participate more than once. Either now or never. It’s more like that.