Editorial Projects Vilnius

Onė Austėja Maldonytė's solo exhibition "Desiccating" features ceramic sculptures made using an experimental open-air firing technique, whose forms evoke natural formations or developing organisms. The artist grows these ceramic surfaces with layers of gelatine, which gradually liquefy, evaporate and disappear over the course of the exhibition. Displayed on custom metal grates, these organic sculptures come into contact with industrial structures designed to channel liquids and waste. The show runs until June 20. @omaldonyte #oneaustejamaldonyte

Created specifically for this show, the sculptural installation ‘Desiccating’ by the Oslo-based Lithuanian artist brings together ceramics, organic matter and metal structures into a single, interwoven ecosystem. In it, the processes of drying, evaporation and drainage form the central motif, pointing to the industrial use of deep-water reservoirs. The exhibition runs until June 20th. @omaldonyte #oneaustejamaldonyte @editorial_projects

We are pleased to invite you to our second show this year: DESICCATING by Onė Austėja Maldonytė. Opening on April 29, 6-9 pm, the exhibition presents a new sculptural installation conceived specially for the “Editorial” space by a Lithuanian Oslo-based artist. Involving ceramics, organic materials and metal constructions, the installation reflects upon extration of ancient water reservoirs for cooling process in the technological development. More info soon! Financed by the @kulturostaryba @norwegiancrafts & @kulturdir @omaldonyte Design by Monika Janulevičiūtė @monika_januleviciute #oneaustejamaldonyte

𝘈𝘳𝘵𝘯𝘦𝘸𝘴.𝘭𝘵 𝘢𝘱𝘻̌𝘷𝘢𝘭𝘨𝘢 Monika Valatkaitė rašo apie meno erdvėje „Editorial“ veikiančią Gabrielės Adomaitytės parodą „Saugyklos“. „Nors šioje parodoje Adomaitytė yra sutelkusi dėmesį išskirtinai tik į daiktų pasaulį ir naudodama blueprints estetiką tarsi atlieka savotišką saugyklų įrenginių ar erdvių skrodimą, menininkės į atskirus elementus „ardomos“ informaciją kaupiančios sistemos siūlo vesti paralelę su galimu objektifikuoti biocheminiu kūnu. Šią filosofinio ekskurso interpretaciją papildo ir mintis, kad menininkės referuojamų medicininių įrenginių kaip diagnostikos prietaisų paskirtis – padėti pažinti ir suprasti fizinį kūną, idant būtų galima jį keisti, sprendžiant problemas: kovoti su negalavimais ar identifikavus organizme nepageidaujamus ir neigiamai jį veikiančius darinius juos šalinti. Šis kūno ir technologijos santykis suponuoja, kad žmogaus kūną galima suvokti kaip biocheminę duomenų saugyklą.“ Editorial nuotr. Visą apžvalgą skaitykite artnews.lt

Gabrielė Adomaitytė, Le Monde, 2025. Oil on linen, 80 x 50 cm. Adomaitytė’s solo show “Depositories” runs until April 4 at @editorial_projects Photos: Useful Art Services @gabriele_adomaityte

Gabrielė Adomaitytė’s solo show “Depositories” runs until April 4 at @editorial_projects . We’re open Wed-Fri 3-7 pm & Sat 12-4 pm. Come by! @gabriele_adomaityte #gabrieleadomaityte

Gabrielė Adomaitytė's solo show "Depositories" runs until April 4 at @editorial_projects @gabriele_adomaityte #gabrieleadomaityte

Gabrielė Adomaitytė, The Positivist, 2025. Oil on linen, 190 x 90 cm. "The Positivist" was painted ‘from memory’, as Adomaitytė states, while its original photograph was taken while working at the Sitterwerk Foundation, St. Gallen, Switzerland, on the ‘Werkbank’: an interactive, digital work table designed to bridge the gap between the physical library and the material archive at the foundation. The composition centers on her collaborator’s hand holding a blacked-out smartphone, behind which the robotic arm of the scanning system for the library shelves is at work. The image is paired with photographs sent by a doctor depicting beds in a maternity hospital: through layering these images, Adomaitytė questions how our material systems persist, and structurally fail, within cycles of technological transformation. - Mitchell Thar @gabriele_adomaityte solo show "Depositories" runs until April 4 at @editorial_projects . Photo: Useful Art Services #gabrieleadomaityte

“This logic extends into the exhibition’s ‘infrastructural’ center piece, Interpretation Board DEP-013 (2025, aluminum, wood, engraving on aluminum plate); inspired by outdoor information signage, the assemblage is placed directly in front of a diptych of drawings. One of two plaques, a vertical and horizontal plate, is engraved with the text ‘[RETURN] a + b;’: a fragment of code/interface, and a (linguistic) barrier, the sculpture is hinged into the exhibition space as an encrypted structure that gives instruction while denying full access.” - Mitchell Thar. Gabrielė Adomaitytė’s solo show “Depositories” runs until April 4, 2026. @gabriele_adomaityte #gabrieleadomaityte @editorial_projects

“In Condensery I (2025, oil on linen), the corridors of a medical clinic are transposed into a data filter. Overlaid with an abstracted rendering of an ARPANET logical map from 1977, it describes a setting closer to a data harvesting center than a site of care.“ - Mithell Thar. Gabrielė Adomaitytė’s solo sho “Depositories” runs until April 4, 2026. Photos: Useful Art Services @gabriele_adomaityte #gabrieleadomaityte @editorial_projects

"The diptych of drawings, DEP-137 and DEP-192 (2025, graphite on paper), are constructed in layers from Adomaitytė’s depot of research images from the Mundaneum in Mons, Belgium. Adomaitytė’s choice of tracing on a lightbox is a process closer to architecture than freehand drawing, with the digital photographs treated as negatives—imprints, rather than translations. A recurring motif of the globe anchors the drawings, which Adomaitytė uses as a weary figure of circulation and containment. Tone shifting between hardware and software, a CT scanner’s interface hovers over the spheres in an articulated flatness: like sheet music, the drawings score the elaborate image treatment which Adomaitytė puts forward in her paintings." - Mitchell Thar Adomaitytė's solo show “Depositories" runs at Editorial until April 4, 2026. @gabriele_adomaityte #gabrieleadomaityte @editorial_projects

In her solo exhibition ‘Depositories’, created specifically for Editorial, Adomaitytė presents a new body of work comprising paintings, drawings, and a sculptural object. These works map the evolving infrastructures of memory and data containment—not only as physical systems, but as symbolic environments in which information is collected, regulated, and distributed. In the exhibition context, the term ‘depositories’ extends beyond the bureaucratic or logistical, pointing toward psychological, emotional, and epistemological registers. What does it mean to deposit knowledge? Who authorizes its preservation, and under what conditions might it be retrieved—or withheld? The archaeology of knowledge spaces constructed in the exhibition does not propose a single narrative, but instead assembles a constellation of charged interiors—intellectual, emotional, institutional. These are not only vaults of information, but also spaces of refusal, slowness, and care. The works integrate a subtle relation to the medical system. At a moment when knowledge is increasingly abstracted, monetized, and accelerated, ‘Depositories’ invites the viewer to pause—to sit with the politics of access and the possibility of withdrawal, and to imagine alternative modes of knowing and documentation. The show runs until April 4, 2026 @gabriele_adomaityte #gabrieleadomaityte @editorial_projects