Bio

Agnė Gintalaitė is a Lithuanian artist, researcher, curator and cultural writer. She is a PhD candidate in Ethnology in a joint doctoral programme at Vilnius University, the Institute of Lithuanian Literature and Folklore, and the Lithuanian Academy of Music and Theatre. Her research in cultural anthropology focuses on lifestyle mobilities among Lithuanian women, with particular attention to mobility imaginaries, belonging and personal narratives.

Her artistic practice encompasses photography, generative media and site-responsive work. Since 2021, she has been exploring generative AI through a practice-based and anthropologically informed approach, examining questions of authorship, representation and algorithmic culture. Her curatorial and editorial practice is connected to her academic interests, particularly gender and mobility studies, and situated forms of knowledge production. Her work has been presented at the MO Museum and the National M. K. Čiurlionis Museum of Art in Lithuania, as well as internationally, including the Circulation(s) Festival in Paris. She contributes essays and cultural criticism to Lithuanian media. She has received three individual grants from the Lithuanian Council for Culture. A former columnist for Lrt.lt, the website of Lithuania’s national public broadcaster, she currently writes for Literatūra ir menas and other cultural publications.

Artistic statement

I am interested in moments when meaning becomes unstable and when what appears coherent or true begins to break down. My practice often starts from an error, a mismatch or an unexpected relation. Rather than correcting such disruptions, I use them to examine how perception is shaped and how established ways of seeing can be unsettled.

I work with place as a relational and changing condition. I often develop or adapt a work in relation to the site in which it is encountered, allowing its architecture or history to become part of the work itself. I approach curating in a similar way, treating exhibition-making as a situated practice in which the work changes through its relation to space. My artistic practice increasingly intersects with my academic research. I am interested in bringing scientific and artistic imagination into dialogue, and in exploring what becomes possible when ethnographic inquiry meets artistic research. This allows me to move between observation and speculation, and to work with forms of knowledge that are not always reducible to verbal explanation. Across these practices, I am drawn to uncertainty as a productive condition: to moments when a representation fails, when a context shifts, or when something familiar can be seen otherwise.