Henri Bergson (1859–1941) speaks of the present as a crystal or a prism that constantly moves ahead, refracting time into one ray that bends off into the past, becoming ‘pure memory’, and another one that bends off into the forever-unknown future, becoming ‘pure perception’. These pure entities are never manifested as such, of course; they blend to form various gradations of memory and perception which sometimes, as in false recognition, become confused.

Bergson's ground-breaking essay lends the 14th Vilnius painting triennial at the CAC the title of False Recognition and also suggests the difficulty of isolating new thoughts against the backdrop of a long tradition. Is it possible to define the truly new in an environment permeated by recognition of what is already known? Can new thoughts in painting be ever captioned neatly?

Participating artists:

Jānis Avotiņš (LV); John Baldessari (US); Romualdas Balinskas (LT); Lina Bjerneld (SE); Niels Bonde (DK); Michaël Borremans (BE); Koen van der Broek (BE); Ina Budryt (LT)­; Damien Cadio (FR); Henrikas Čerapas (LT); Hadassah Emmerich (NL); Takeo Hanazawa (JP); Hannaleena Heiska (FI); Jörg Herold (DE); Kim Hiorthøy (NO); O Jun (JP); Patricija Jurkšaitytė (LT); Tillman Kaiser (AT); Eglė Karpavičiūtė (LT); August Künnapu (EE); Raoul Kurvitz (EE); Matts Leiderstam (SE); Tor-Magnus Lundeby (NO); Victor Man (RO); Inga Meldere (LV); Eglė Ridikaitė (LT); Nina Roos (FI); Viktor Rosdahl (SE); Adam Saks (DK); Praneet Soi (IN/NL); Radek Szlaga (PL); Ričardas Povilas Vaitiekūnas (LT); Aušra Barzdukaitė – Vaitkūnienė (LT); Ruslan Vashkevich (BY); Alfonsas Vilpišauskas (LT); Jakub Julian Ziólkowski (PL)

More Information: CAC