Flusso Project

is happy to present “Notes on Slow Forms”, an exhibition that brings together work developed by Erika Povilonytė (@liutulis ) during her residency at Flusso, as part of #Archeomythologies. Conceived through a series of site visits, research, and collaborations – including work with cartapesta artist @denibianco and @ass_carteinregola , as well as conversations with archaeologist Dr. @donatellapian , speleologist @lippolis.piero – the project draws on the wider research of Marija Gimbutas and relational fabric of prehistoric cultures. The pieces emerge slowly, somewhere between cartography and sculpture – through contact, material exploration, and attention to place. Layering, pressing, and tracing surfaces of landscape and time become a way of working. “Notes on Slow Forms” by Erika Povilonytė April 18 – May 17 at Il Sedile Piazza Plebiscito 1, Putignano (BA) Opening: Saturday, 18 April, 19:00 Visiting hours Thu–Sat: 17:00–20:00 Sun: 10:00–12:00 Guided tours Sundays at 11:00 (or by appointment) Curator: @erika_kyte Communication: @kolomyckis Photography, exhibition architecture & lighting: @dinofrittoliphotographer Partners: @goetheinstitut , @culturemoveseurope , @soprintendenzabatfoggia , @cittadiputignano , @cultura_lituana_in_italia , @luoghicomunipuglia , @jazzile_vini_ensemble , @grottadeltrullo

We are happy to welcome our new artist in residence – Erika Povilonytė (@liutulis ). During her stay, Erika will develop new work in response to the local cultural and natural landscape, and the conceptual framework of #archaeomythology and Marija Gimbutas reseach. Erika is a contemporary artist whose practice centers on paper as both a material and a conceptual medium. Through processes of layering, shaping, and transformation, she creates works that highlight material sensitivity and the poetic potential of fragile forms. At the end of the residency, Erika will present an exhibition of the works developed during her time in Flusso, offering insight into her ongoing research. More information about the exhibition will be announced soon. Following the residency, Erika will continue her stay in Italy, where she will work alongside @chiara.camoni , who is representing Italy at this year’s @venice.art.biennale . Ph. @dinofrittoliphotographer @liutulis @cyprianmusique @kukoldemon

collaborates with @forestparts COOP at the @dutchartinstitute Roaming Academy for COOP: Tending Forests in Our Minds, supporting activities in Italy and connecting artistic research with ecological thinking and site-responsive practices. Led by Egija Inzule, @jurgadau , and @zuka.jonas , the programme brings together an international group of artists and researchers engaging in field-based, collaborative learning across Nida, St Erme Outre et Ramecourt, and Matera. As part of the collaboration, @erika_kyte contributed a lecture from an archaeological perspective, introducing the work of Marija Gimbutas on the Neolithic cultures of Old Europe – with a focus on sacred sites such as Grotta Scaloria and the longer histories of ritual relationships to landscape, subterranean space, and water. Through this exchange, Flusso continues to build connections between archaeology, art, and place – fostering situated, collaborative research across contexts.

Pirate of the Capital is a process-based project that developed across different geographical, cultural, and institutional contexts. The initial research and first works of the series began during my residency at @daaresidency in Bodrum, Turkey, where distance from familiar cultural infrastructures allowed me to observe architectural power structures and models of social organization - systems that regulate visibility, access, and hierarchy long before any performance takes place. The project continued to evolve through subsequent stages of production and reflection, eventually taking its present form through collaboration with @flussoproject and curator @erika_kyte . The exhibition context enabled the series to shift from studio research into a public situation, where questions of cultural authority, participation, and redistribution of meaning could be experienced collectively. At its core, Pirate of the Capital examines how cultural institutions, particularly opera houses, materialize social distinctions through architecture. By translating seating plans from institutions such as Teatro alla Scala, Opéra Garnier, and the Royal Opera House into visual and sculptural systems informed by games, I seek to displace their fixed hierarchies and imagine alternative modes of organization. The project does not aim to negate these institutions, but to approach them as structures that can be reconfigured, replayed, and rethought. The works are part of an ongoing series that will ultimately consist of ten large-scale paintings, alongside sculptural objects and video. In this sense, the exhibition should be understood not as a final statement, but as a moment within a longer trajectory of research. I am deeply grateful to @daaresidency and @aynurgirginwesten , @sevgilicemre , @flussoproject , @erika_kyte and @dinofrittoliphotographer for supporting this process at different stages and for providing the conditions. Pictures by: @dinofrittoliphotographer

“Opera houses are spaces where culture becomes visible as structure. Long before performances begin, theatre architectures already assign positions: who can see, who can be seen, from where and why. Seating plans are not merely technical solutions but spatial narratives that translate social order into form. Pirate of the Capital begins with these diagrams. @kolomyckis takes the seating plans of La Scala (Milan), the Opéra Garnier (Paris), and the Royal Opera House (London) and removes them from their architectural certainty. Detached from their function, these plans are transformed into game boards. Tic-Tac-Toe, Tetris, and Battleship become new logics through which the opera house is reorganised. This shift is neither ironic nor nostalgic. Games operate through rules that apply equally to all participants, suspending inherited privilege and exposing the fragility of cultural hierarchy. What appears fixed reveals itself as contingent and open to rearrangement. The works suggest that architecture does not simply contain culture but actively produces it. Space organises behavior, attention, and belonging; the seating plan becomes a script that choreographs spectatorship and encodes distinctions between center and margin. The title Pirate of the Capital introduces key metaphors. The pirate enters protected systems not to destroy them, but to reroute their value. Here, “capital” refers to cultural legitimacy and access. Alongside the paintings, sculptural works extend this inquiry into space, turning architecture into an open field of negotiation. The exhibition ultimately asks not where one is seated, but whether the game itself can be changed.” – curator @erika_kyte Artworks by the artist developed during the residency in @flussoproject (Putignano, Italy) and @daaresidency (Bodrum, Turkey). Exhibition on view until 8 February 2026, at Il Sedile in Piazza Plebiscito 1, Putignano. Guided tours led by the artist and curator: 24–25 January 2026, (17:00–20:00). Curator @erika_kyte Exhibition architect, light and photography @dinofrittoliphotographer Design: ernest.digitale Partners: @cittadiputignano @ilsedile_tourismhub_putignano @luoghicomunipuglia @radio_jp

Thank you for joining us at the opening of Pirate of the Capital! Pirate of the Capital by @kolomyckis , curated by @erika_kyte , is on view at Il Sedile, Piazza Plebiscito, Putignano, until 31 January 2026. The exhibition brings together a series of paintings and sculptural objects that explore the relationship between architecture, cultural hierarchy, and play, drawing from the seating plans of major European opera houses and translating them into game-based visual structures. Welcome to visit the exhibition over the following weekends and spend some quieter and more focused time during the guided tours led by the artist and curator: 17–18 January and 24–25 January 2026, (17:00–20:00). Visits by appointment: [email protected] Thank you again for being part of this project! Special thank you for the video: @mark__tally Partners: @cittadiputignano , @ilsedile_tourismhub_putignano , @luoghicomunipuglia , @radio_jp , @jazzile_vini_ensemble

is pleased to announce Pirate of the Capital, a solo exhibition by @kolomyckis opening on Saturday, 10 January 2026 at 19:00 at Il Sedile in Piazza Plebiscito 1, Putignano. Curated by @erika_kyte the exhibition brings together a series of paintings and sculptural works that transform the seating plans of iconic European opera houses into game boards inspired by Tic-Tac-Toe, Tetris, and Battleship. Through play, Kolomyckis reimagines architectures of prestige and hierarchy as open systems governed by shared rules, questioning how cultural power is structured – and how it might be redistributed. Denisas Kolomyckis is a former resident artist with Flusso. This exhibition marks the first chapter of a new exhibition series through which Flusso continues to collaborate with its former residents, maintaining long-term relationships with artists and presenting their work. On view until 31 January 2026. Guided tours led by the artist and curator: 17–18 January and 24–25 January 2026, (17:00–20:00). Visites by appointment: [email protected] Curator @erika_kyte Exhibition architect, light and photography @dinofrittoliphotographer Graphic design of the poster ernest.digitale Partners: @cittadiputignano , @ilsedile_tourismhub_putignano , @luoghicomunipuglia , @radio_jp , @jazzile_vini_ensemble

Visiting Selvatica at @koracentrodelcontemporaneo (curated by @iunoiunoiuno ) has been on my list since it opened, as the exhibition speaks directly to my research on art, archaeology, and the legacy of Marija Gimbutas. I couldn’t have wished for a better occasion than experiencing it through a guided visit with @ccanziani , whose insights added extraordinary depth and clarity to the encounter. Selvatica looks at the figure of the woman through the lens of ‘the wild’: woman as nature – generative and destructive, nurturing yet monstrous – echoing the duality Gimbutas traced in prehistoric cosmologies. What struck me most was how the selected works open a space where ecofeminism, animism, ritual, and mythology meet contemporary artistic practices. Anthropomorphic and zoomorphic forms appear throughout (Gaia Fugazza, Helena Hladilová, Marta Roberti), blurring boundaries between human, animal, and spirit. Materiality and collaboration – earth-derived materials, craft processes, and shared practices – establish a quietly radical proposition of coexistence (Gaia Fugazza, Alice Visentin, Grossi Maglioni, Marta Roberti). Mythology and ritual surface as generative structures (Francis Upritchard, Cleo Fariselli, Cynthia Montier) offering new meanings within contemporary culture. Several artists reimagine goddesses or the objects tied to them (Caterina Morigi, Lucia Leuci, Chiara Camoni). Finding these echoes of Gimbutas in contemporary curatorial practice feels increasingly significant. Once rooted mainly in feminist art, her ideas are now re-examined through broader lenses of ecology, interdependence, and renewed spiritual imaginaries. What begins with the female body expands into an understanding of humans, nature, and the more-than-human as intertwined systems. From a gender-centered reading of the Goddess toward a holistic cosmology rooted in land, ritual, and the sacred as one continuum, Selvatica is a powerful reminder of how the ‘wild’ – resilient, untamed, life-giving yet death-wielding – continues to guide us back to knowledges we have lost, and toward those we urgently need. Thank you for the photos @dinofrittoliphotographer ! List of artworks in the comment.

@kkrasauskaite has concluded her stay with us in Apulia as part of Archaeomythologies programme. Her journey across archaeological, archival, librous, and temporal landscapes has reawakened the layers of Marija Gimbutas’ research in southern Italy and now extends into her ongoing inquiry into Places of Power: sites where history, mythology, and the body converge. In Kamilė’s words: ‘[Marija Gimbutas’] excavations in Apulia, particularly at Grotta Scaloria, reveal ritual spaces where life, death, and regeneration were woven into the body of the earth itself. I am fascinated by these “entrances” – both literal and symbolic – into ancient belief systems, and by how material traces can still act as portals into a more-than-human worldview.’ Sharing this time with Kamilė and supporting her research journey was a wonderful experience for all of us at Flusso. We look forward to continuing our dialogue and to the new adventures, reflections, and resonances that may unfold. We’re incredibly grateful to our experts – for their time, dedication and inspiration: Dalia Ostrauskienė and @nacionalinis_muziejus @lippolis.piero and @grottadeltrullo Dr. Eugenia Isetti and @i.i.a.s._archeologia Dr. @donatellapian and @soprintendenzabatfoggia Dr. @art.archaeology.orkney and @uhiarchaeology Very special thank you to @laura.gabri , and our partners and friends: @lithuanian_culture_institute , @ltmks_ , @nacionalinis_muziejus , @soprintendenzabatfoggia , @i.i.a.s._archeologia , @cittadiputignano , @radio_jp , @collettivortica , @denibianco #ARCHAEOMYTHOLOGIES is part of the @cultura_lituana_in_italia 2025–2026 programme. It is implemented by the @lithuanian_culture_institute and the @lithuania_in_italy @ltmks_ activities and @erika_kyte research that forms the basis of this programme are financed by the @kulturostaryba

I am extremely grateful for the unique opportunity to thoroughly update my artistic research on Places of Power at the @flussoproject residency. 🤸🏽‍♀️🪨🌀   - -  deepening knowledge of various civilizations, and if I divide them into time-separated ascending and descending spheres, both spheres seem willing and preparing to transcend somewhere  - - THANK YOU'S: @erika_kyte - - for curating a residency program that not only reflects but also continues the research of the pioneer of archaeomythology, Marija Gimbutas (1921–1994); for the maps of places in Apulia, adventures, and conversations. & @dinofrittoliphotographer - - for apart from being an excellent photographer, empowering Erika in her work, for the delicious food, for driving us to the sites, and also for the conversations and sense of humor. to Dino's father, @enzofrittoli - - for Sunday lunches, jokes, and bright wishes expressed in Italian. To the experts for enriching multidisciplinary layers by sharing their research and experiences: Dr. Eugenia Isetti - (who participated in excavations at Grotta Scaloria together with M. Gimbutas), speleologist @lippolis.piero - - for his lively relationship with the material and his trust in opening up lesser-known protected sites, Dalia Ostrauskienė @nacionalinis_muziejus - - for the initial preparations and for allowing us to touch artifacts dating back thousands of years with our own hands, Dr. Antonia Thomas, Dr. Donatella Pian - for connections, the local Putignano community radio station @radio_jp !, @common_non.sense - - for coordination and care, and, of course, @ltmks_ @cultura_lituana_in_italia . Partners: @lithuanian_culture_institute , @arte_cultura_lituana_in_italia , @ltmks_ , @nacionalinis_muziejus , @soprintendenzabatfoggia , @i.i.a.s._archeologia , @cittadiputignano pics 📸 5;12 by @dinofrittoliphotographer 🫶🏼

I would divide my time at @flussoproject into ascending and descending research and the exploration of both spheres in search of (at least for now, completely precise) coincidences. Archaeological finds tell us that for at least 30,000 years, people have been searching for transformation in the depths of the earth. Paleolithic temples, and later Neolithic burial chambers throughout Europe (around 4000–3000 BCE) became both graves and places of initiation – symbolic wombs where death and rebirth were rehearsed. Not to mention the expressions that have survived to this day (such as Temazcal baths, or even more mundane and simplified saunas). Shamans were symbolically dismembered and reassembled underground; Participants in the Eleusinian initiations entered underground temples to witness the return of Persephone; Mayan priests fasted in caves so they could talk to their ancestors. In preparation for space travel, NASA, ESA, JAXA, CSA, and Roscosmos astronauts spend six days deep underground (for those interested, the program is called CAVES, which stands for Cooperative Adventure for Valuing and Exercising human behavior and performance Skills). Without going into the details of this type of training, it is probably easy to guess/decode the practical and psychological goals of these exercises. They also study how people adapt to the psychological "descent" into isolation and darkness - again, in preparation for a distant "ascent" into the vastness of space. (( Here again, I will pause (at least for now hih), refrain from delving into cosmological coincidences Yesterday, accompanied by @lippolis.piero , a speleologist who has dedicated his entire life to exploring the Earth's caverns, @erika_kyte and I had the opportunity to spend a few hours crawling (and pushing our way through with our elbows :D) into one of the caves in Apulia. As I have shared before, Marija Gimbutas conducted excavations in one of these caves (Grotta Scaloria, a cave famous for its water and fertility cults), confirming her previous hypotheses about Ancient Europe. {more in the comment below

Siamo lieti di annunciare che Kamilė Krasauskaitė è l’artista selezionata per “Archaeomythologies”, un programma di residenza interdisciplinare promosso da @flussoproject a Putignano, in Puglia. A cura di @erika_kyte , il progetto esplora l’eredità dell’archeologa lituana Marija Gimbutas, le cui ricerche in Puglia e in “Vecchia Europa” hanno ridefinito la comprensione delle culture preistoriche. Attraverso visite ai siti, ricerca in studio e dialogo con esperti, “Archaeomythologies” mette in relazione arte contemporanea e patrimonio archeologico, tracciando le continuità tra passato profondo e presente vivente. Durante la residenza, @kkrasauskaite prosegue la sua indagine sui “Luoghi di Potere” — spazi in cui storia, mitologia e corpo si incontrano — riattivando gli strati della ricerca di Gimbutas nell’Italia meridionale. / We are glad to announce Kamilė Krasauskaitė as the selected artist for “Archaeomythologies”, an interdisciplinary residency by @flussoproject in Putignano, Apulia. Curated by @erika_kyte , the programme explores the legacy of Lithuanian archaeologist Marija Gimbutas, whose excavations in Apulia and across “Old Europe” reshaped our understanding of prehistoric cultures. Through site visits, studio-based research, and dialogue with experts, “Archaeomythologies” connects contemporary art with archaeological heritage, tracing continuities between the deep past and the living present. During the residency, @kkrasauskaite continues her exploration of “Places of Power” — where history, mythology, and the body converge — reawakening the layers of Gimbutas’ research in southern Italy. The residency is organised together with @ltmks_ . Scopri il programma completo sul nostro sito www.lithuanianculture.lt e seguici in questo viaggio nella cultura lituana attraverso l’Italia. #culturalituanainitalia #lithuanianculture #lithuanianart #artelituana #artistresidency #archaeomythology #flusso #kamilekrasauskaite