CuLTure. Gardens of Europe. Lithuanian Presidency of the Council of the European Union

July – December 2013 Decoration of the Justus Lipsius building during the Lithuanian Presidency

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Gardens of Europe

of the Council of the European

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Union

With Lithuania at the helm of the European Union, some Lithuanian touches have been added to the Council building, Justus ­Lipsius. ­Following the tradition of rotating presidencies, we have decorated it with works of art and design highlighting Lithuania, its culture and heritage. So welcome to Lithuania’s Gardens of Europe.

The foyer space features modern Lithuanian furniture. We hope it will be comfortable for both a quiet moment of relaxation and a serious discussion on key issues like restoring trust in the European Union’s financial stability and building a credible Europe.

As we search for ways to boost competitiveness, create new jobs and contribute to a growing Europe, we will hopefully find inspiration in the artworks conceived in Lithuania’s dynamic and creative environment.

Lastly, the vibrant garden setting reflects an open Europe set to work with foreign partners. A growing garden is a symbol of harmony and prosperity – and that is what the Lithuanian presidency wishes to the European community.

I am delighted that internal and foreign policy decisions significant to all of Europe will be made in the surroundings of Lithuanian designed Gardens of Europe. They should inspire us for intelligent, creative and most importantly necessary work. May it be true for the European Union that brings us together and also for Lithuania.

Dalia Grybauskaitė President of the Republic of Lithuania 2 | 3

Gardens of Europe Traditional Craft – Modern Art – Contemporary Design

Following the tradition that allows each presidency to decorate the J­ ustus Lipsius building, Lithuania invites you to take a walk in the Gardens of Europe. The installation that adorns the Justus Lipsius building, and the exhibitions of visual art and design work created by ­Lithuanian artists, represent modern creative traditions that have close ties with our cultural heritage.

The hanging Gardens of Europe in the atrium (entrance hall, level 00) are the axis of the building’s overall decoration. For our predecessors, gardens woven from straw symbolized the World Tree, which embodied a universal understanding of harmony and the world. The peaceful and sustainable existence of society and respect for the environment are universal values and aspirations for all Europeans. The installation is a harmonious assemblage, comprised of individual gardens dedicated to each EU Member State. This composition enriches the European cultural heritage, and provides a foundation for contemporary creative expression. All of the gardens are made using authentic straw garden construction techniques.

Some of the original straw furniture, which combines traditional materials and modern form, is shown in the foyer behind the atrium.

The soft strokes of light and shade cast by the garden-shaped lights endow the space with a pleasant intimacy. Here you can find restrained graphic prints by Rimtautas Vincentas Gibavičius, which are dedicated to the poetry of Lithuanian poet Jurgis Baltrušaitis. Further along, you will be greeted by bronze Animals of the New World by Teodoras ­Kazimieras Valaitis that are on straw pedestals.

Photo by Arturas Valiauga

Detail of garden created by Roma Gudaitienė

As you go along the corridors on level 50, you will see Animals of the New World and two other pieces of Gibavičius’ graphic series: Vilnius, which consists of seven woodcuts, and Windows of the Full Moon, which comprises thirty-five etchings. The works open up windows to the Old Town of Vilnius and the changing dome of the sky in the hallway’s walls.

The waiting room space is furnished with specially designed straw furniture. Comfortable, ecological and ergonomic furniture is the perfect match for the Gardens of Europe installation, and invites visitors to sit down for an informal chat.

The Presidency reception and waiting rooms are decorated with three optical impressionist paintings by Kazimieras Žoromskis, which radiate warmth and light. The Logo sofas of modern design create a solid and calm atmosphere, while the red ten-leg chair KU-DIR-KA represents some flexible and unconventional solutions.

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graphic art

Rimtautas Vincentas Gibavičius 1935–1993 The graphic artist Rimtautas Vincentas Gibavičius admitted: ‘Our quest for a path of our own was primarily inspired by older students, books about Western art which were banned at the time, Lithuanian folk art, and of course, the work of M. K. Čiurlionis, which in and of itself crushed the notion of “realism” that the official requirements imposed on us.’

Each of Gibavičius’ works is an utter and musical composition, based on variations and recurring motifs. He is best known for a series of woodcuts, the silhouettes of buildings that are ceaselessly interwoven into a melodious fabric and a flawless ability to hide the lines and neverthe­less, remain clearly identifiable. Skillfully executed prints capture some of the most picturesque landmarks in Vilnius’ history and architecture: old churches, Vilnius University, the town wall, etc.

Abstraction and repetition manifest themselves most clearly in the series dedicated to the poetry of Jurgis Baltrušaitis. Here straight lines and diagonals extending into infinity intersect to form stars and produce new geometric compositions as in a mysterious space atlas.

This looks like poetry transcribed into pure graphic language and reencoded using different signs.

From the series Vilnius St Anne’s and the Bernardine Church 1967. Woodcut, 50×50

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sculpture

Teodoras Kazimieras Valaitis 1934–1974 Having rejected the element of plot and turned to free plastic improvi­ sation, Teodoras Kazimieras Valaitis developed a distinctive and expressive style, and in so doing took monumental decorative sculpture to a higher level. Equipping some of his works with kinetic elements and encapsulating others in wavy and smooth surfaces, the artist liberated them from the confines of three dimensions. In the series Animals of the New World, the sculptor explores the constitution of biomorphic shapes and seeks to grasp the realistic and envisioned forms of plants and animals of the earth and the sea. Each of these pieces appears to be kneaded from universal living matter, pulsating with elemental forces and ready to change appearance at any time.

Valaitis was active in the 1960s and 1970s, an ideologically unfavourable period when freedom of expression was hindered by unified pseudo-aesthetic requirements. He exceled his coevals with a distinctive expression of ‘Silent Modernism’, that enabled him to go beyond the rough borders of Socialist Realism. Valaitis’ talent was noticed and his works were shown at international fairs in Leipzig, Montreal, São Paulo and Osaka. His innovative ideas came to an end with his untimely death.

Photos by Arturas Valiauga

From the series Animals of the New World Above: Woman. 1970. Bronze on granite base, h 22 The Birth. 1974. Bronze on granite base, 25×12×10

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painting

Kazimieras Žoromskis 1913–2004 Kazimieras Žoromskis revealed that during the years of forced emi­ gration from Lithuania, while living in France, Spain and the United States of America, he dreamt about ‘reaching the level of famous painters’ masterpieces without losing the Lithuanian identity’, so that his works could return to Lithuania. He succeeded in this. The unique optical impressionist style of painting which he created and perfected gave a second wind to the entire Op Art movement, and earned him international recognition.

The Three Dimensions Series (TDS), which Žoromskis started in 1970, most vividly show his artistic and creative discoveries. Looking for visual means to convey the optical vibration of light, he used the two-dimensional plane of the canvas and created an illusion of space that disobeyed the rules of perspective. These are masterfully executed works of art, based on optical laws and scientific research of the light spectrum, in which the artist captured the dispersion of light. Žoromskis’ works can be seen today in the most famous art ­galleries, including the Vatican Pinacotheca, Moscow’s Tretyakov Gallery, the Smithsonian American Art Museum in Washington, and the National Museum of Bilbao. About 60 of his works are held in the Spanish Royal Family’s collection, and a collection of 370 paintings put together by the artist himself is stored at the Lithuanian Art Museum.

tds#304 1996. Oil on canvas, 139Ă—113

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design

Contemporary Lithuanian design combines traditional Baltic forms with the indispensable requirements of originality, functionality and ergonomics. A chair with too many legs? A felt-covered rocking chair? Lamps made from traditional tree cake šakotis? All of this was born as a result of the imaginative interpretation of cultural heritage, the creative use of natural materials, and the playful inclusion of signature elements of individual style. As is often noted, Lithuanian designers merge Scandinavian simplicity and southern eccentricity in their work.

Paulius Vitkauskas (b. 1982) can so far be presented as the ­originator of a single masterpiece. The young artist became famous while still a student, when his ten-leg rocking chair KU-DIR-KA became a symbol of Lithuanian design. Named after Vincas Kudirka, the composer of the ­Lithuanian National Anthem, the chair earned him much praise in London at the 2006 exhibition 100% Design. Two years later, it was equipped with a meter that counted every rocking movement it made. In the 2012 exhibition Everyday Discoveries in Helsinki, Vitkauskas’ ­KU-DIR-KA chair was exhibited alongside global icons such as Thonet’s chair No 14, and Le Corbusier’s chaise longue B306.

The furniture designed by Nauris Kalinauskas (b. 1972) has architec­ tonic forms and clear silhouettes, which are emphasized by the pur­pose­fully chosen materials. Each of the designer’s works reveals his main values: simplicity and the expression of the initial concept.

He ­attaches particular importance to ergonomics, construction, and technical innovation. Kalinauskas participates regularly in international design competitions and exhibitions, where his works are frequently praised. The prototype of the Logo sofa that furnishes the Presidency reception room on the 50th floor won a Red Dot Award in the Product Design Category in 2007.

Above: Nauris Kalinauskas Lounge chair Logo. Manufacturer: Softimus Floor lamp Plus and chair Pixel 004. Manufacturer: Contraforma Opposite: Paulius Vitkauskas Chair KU-DIR-KA. Manufacturer: Contraforma

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The circle making up the logo of the Lithuanian Presidency of the Council of the European Union is the symbol of unity representing that ­Lithuania will be an honest broker seeking to harmonize different positions. The logo refers to the united European Union whose countries want and can work together, foster values shared by Europeans, and are able to overcome all the arising challenges. The colors of the logo remind of Lithuania’s relations to the Baltic region and the Northern Europe region while the blue bow of the EU flag represents universally shared values and activities. The plait of the Lithuanian national flag colors – ­yellow, green and red – complete the logo circle. This link symbolizes the responsibility for the Presidency of the Council of European Union in the second half of 2013 that is assigned to Lithuania.

Ministry of Culture of the Republic of Lithuania

Ministry of Foreign Affairs of the Republic of Lithuania

Gardens of Europe project created and implemented by Ekspobalta JSC Art director: Saulius Valius Designer: Andrius Ciplijauskas Architects: Jurga Marcinauskaitė, Justinas Dūdėnas, Laimis Valančiūnas Art collection curator: Violeta Juškutė Project manager: Laura Radzevičiūtė Production director: Vilius Mikolaitis Production team of the Gardens design objects: Vytautas Musteikis, Tomas Butkus Text by Rūta Statulevičiūtė-Kaučikienė Graphic design and layout by Jokūbas Jacovskis Cover image: Installation Gardens of Europe (detail), photograph by Arturas Valiauga Published by the International Cultural Programme Centre, Lithuania | www.koperator.lt Supported by the Ministry of Culture of the Republic of Lithuania Printed in Lithuania by © International Cultural Programme Centre, 2013 All rights reserved. The reproduction of this programme, even in part, in any form or medium is prohibited without the written consent of the copyright holder.

ISBN 978-609-8015-36-2 Circulation: 2,000

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