2026 — Miglė Markulytė, Kito vardo akimis. (ne)būti (Through the Eyes of Another Name. (Not) to Be), Marcinkonys Station Gallery, Marcinkonys, Lithuania
Curator. The exhibition developed from Markulytė’s interdisciplinary practice, which began during the Verpėjos art residency in Kabeliai, where she spent time with and cared for a flock of Skudde sheep. The project explores posthumanist relations with the non-human Other and uses photography and language to examine possibilities of forming a relationship with animals through attention and care.
My curatorial approach focused on adapting the works to the specific architecture and material character of Marcinkonys Station Gallery. The installation was developed so that the old wooden railway-station building became an active part of the exhibition, shaping its narrative and the visitor’s movement through the space. This site-responsive approach corresponded with the project’s evolving structure, as each iteration is conceived in relation to the exhibition site.
2025–2026 — Lithuanian Photography 2025: Mobilities in and Beyond the Frame, publication and exhibition, Lithuanian Photographers Association / Prospektas Gallery, Vilnius
Editor of the publication and curator of the exhibition.
The project grew directly out of my academic work in mobility studies, which provided a conceptual framework for thinking about how meanings are produced through movement, circulation and relations between images, people and places. The publication brought together 302 works by 32 contributors and was structured as an open, non-hierarchical network of associations between images, authors and ideas.
The curatorial approach brought artistic, documentary and activist practices into dialogue as different ways of producing knowledge about the world. One example was the material addressing migration across the Lithuania–Belarus border. In the publication, Paulius Petraitis’s artistic work was placed alongside documentary photographs by volunteers of Sienos Grupė. The juxtaposition brought together two forms of visual inquiry into the same phenomenon: the artist’s interpretative and synthesising perspective and the activist’s situated act of witnessing.