Goda Budvytytė

NEW BOOK 🌪️ Tender Tremble by Eglė Budvytytė @egle_budvytyte Language: English Size: 220 x 300 mm Pages: 104 Format: Soft cover with flaps ISBN: 978-3-96436-099-1 @egle_budvytyte Editors: Eglė Budvytytė, Virginija Januškevičiūtė @deep__oceans , Louise O’Kelly @louise_okelly Texts: Eglė Budvytytė, Ming-Jou Chen, Amelia Groom, Virginija Januškevičiūtė, Louise O‘Kelly, Fazle Shairmahomed, Marija Aušra Olšauskaitė, Sophie Strand Designer: Goda Budvytytė @godabud Co-publishers: Lithuanian National Museum of Art @nacionalinisdailesmuziejus , Vleeshal Center for Contemporary Art @vleeshal Price: 30 € ‚Tender Tremble‘ has been published on the occasion of Eglė Budvytytė’s representation of Lithuania for its national pavilion at the 61st Venice Biennale. Foregrounding ‚animism sings anarchy‘ (2026), the three channel film installation commissioned for the pavilion, and with an emphasis on her recent film works, this book introduces Budvytytė’s practice through film stills, lyrics and documentation of live performances to illustrate the scope of her interdisciplinary output. The voices of her collaborators and several writers have also been invited into these pages to complement and expand upon Budvytytė’s artistic vision in the form of interviews, essays and poetry. Themes of collectivity, interdependence, the more-than-human and life beyond death thread through the three films included in these pages – ‚Songs from the Compost: Mutating Bodies, Imploding Stars‘ (2020), ‚Warmblooded and Earthbound‘ (2024) and ‚animism sings anarchy‘ (2026). Each distinctly addresses these topics through poetic choreographies that tether the human figure to the landscape, proposing visions that challenge anthropocentrism and chronological time. Eglė Budvytytė’s ‚animism sings anarchy‘ curated by Louise O’Kelly will be on view at the Lithuanian Pavilion at the 61st Venice Biennale @labiennale May 9–November 22, 2026 Fucina del futuro, Castello 5063/B Venice 30122, Italy

“Suzon” came out, celebrating 22 years of writing by Raimundas Malašauskas. Marking even more years of friendship. So mark your calendars and come to celebrate the book (Brussels edition): 21 February, Friday L’Archiduc 18:00 * Suzon: Selected Writings by Raimundas Malašauskas A combination out-of-print 2012 publication Paper Exhibition with a new collection of texts written since then. The book is edited by Tom Engels, Yana Foqué, and Krist Gruijthuijsen, designed by Goda Budvytytė, copy-edited by Stuart Bertolotti-Bailey and published by KW Institute for Contemporary Art (Berlin), Kunstverein Publishing (Amsterdam), Grazer Kunstverein (Graz), Baltish Arts Magazine (Vilnius), and Verlag der Buchhandlung Walther und Franz König (Köln). 2025 (and available already in bookshops worldwide and online) The publication Suzon is printed on the reverse of the revised edition of Paper Exhibition, which was originally published in 2012 by Sternberg Press, Kunstverein Publishing, Sandberg Institute, and the Baltic Notebooks of Anthony Blunt (Baltish Arts Magazine). Editors: Tom Engels, Yana Foqué & Krist Gruijthuijsen Design: Goda Budvytytė Copy-editor: Stuart Bertolotti-Bailey Printer: Graphius, Ghent Publishers: KW Institute for Contemporary Art (Berlin), Grazer Kunstverein (Graz), Kunstverein Publishing (Amsterdam), Baltish Arts Magazine (Vilnius) and Verlag der Buchhandlung Walther und Franz König (Köln). ISBN: 978-3-7533-0767-1 @grazer_kunstverein @kunstverein @buchhandlungwaltherfranzkoenig @kwinstitutefcontemporaryart @tom.leo.m.engels @yana_foque #Suzon #AskSalad #raimundasmalasauskas @fransmasereelcentrum

The cat is out of the bag, or the book is out of the box! New book from Kirvarpa books: J. Prapuolenis, Studija/Studio. Book launch dates and locations coming soon! 🚀💚🌳 Published and edited by: @kirvarpa @zuka.jonas @jurgadau Photography: Rasa Juškevičiūtė @rasaj Design: Goda Budvytytė @godabud Photography assistant: Marija Olšauskaitė @marijaolsauskaite Texts: Aiste Dičkalnytė, Kotryna Lingienė, Jurga Daubaraitė and Jonas Žukauskas Lithography: Danielius Samulevič Printed by: Kopa —— This publication serves as a photographic document and proposal to preserve Jonas Prapuolenis’ (1900–1980) hand-built Studio in which he designed and produced most of his work over a remarkable and inventive career. The Studio sits on a nearly century-old site in the Žaliakalnis neighbourhood of Kaunas alongside Prapuolenis’ home and surrounding garden, which continue to be cared for by his son, Bangutis Prapuolenis. Jonas Prapuolenis was a designer, artist, and educator who interpreted the textures and qualities of local timber, and its particular, unique structures and patterns shaped by the local climate and terrain—the geometries of which he translated into artistic furniture pieces. #kirvarpabooks #prapuolenis

Summer snowball

Last week of: touch, colour and fold Third iteration (fold) @macromuseoroma with performative guided sessions by @ulasickle light and skin sensitive eye @rasaj folding the space in conversation with @_eeter words to feed imaginations @bersouza carte blanche invitation by @lucalopintoo and help all along the way @veronica_botta @saracein #touch #colour #fold #jungle #book #exhibition #macromuseum #roma

touch, colour and fold Second iteration (colour) @macromuseoroma With @bersouza , @rasaj , @ulasickle , @_eeter 24 February 2022 – 22 May 2022 Photos taken by @rasaj Each noun in the exhibition’s title corresponds to a specific component of bookmaking: touch stands for paper; colour for ink; fold for binding. These aspects are explored alongside one another and in a continuum by practitioners from different fields and backgrounds. Choreographer and performer Ula Sickle will lead a series of guided sessions in the exhibition space. Photographer Rasa Juškevičiūtė will provide visual insights and document the show throughout its various stages. Her pictures will gradually join the words of writer and curator Bernardo José de Souza. An open-ended book-like structure—conceived in conversation with architecture practice ĒTER—takes the centre stage, acting as a maelstrom of sorts, an axis around and through which all contributions unfold into the exhibition space and create a field for different avenues of attention. #macromuseum #stimulieringfunds #lithuanianembassy

In the beauty of today’s full moon, I wish for the world to be at peace. Before it turned full, my exhibition “touch, colour and fold” has opened at MACRO – Museum of Contemporary Art of Rome, with all the most amazing people on board. Thank you dear all with contributing your beautiful energies to making this happen: @bersouza @rasaj @ulasickle @karlis__berzins @_eeter @veronica_botta @saracein @lucalopintoo @lisondhouwt @laura.gabri #matteo #fabio 📚 GODA BUDVYTYTĖ touch, colour and fold With Bernardo José de Souza, ĒTER, Rasa Juškevičiūtė, Ula Sickle 24 February 2022 – 22 May 2022 For her takeover of the IN-DESIGN room, graphic designer Goda Budvytytė unravels the process of bookmaking through both visual and haptic perception. By starting from its primary material—paper—and by synaesthetically unfolding its constitutive elements in a spatial and performative dimension, touch, colour and binding emerge as intertwined agencies mutually affecting one another. And in the wake of such an organic investigation of space and matter, a myriad of questions never cease to arise: How does a book feel in the hands? How does it flip and fold? How do materials we get in touch with influence or transfigure our way of perceiving? Each noun in the exhibition’s title corresponds to a specific component of bookmaking: touch stands for paper; colour for ink; fold for binding. These aspects are explored alongside one another and in a continuum by practitioners from different fields and backgrounds. Choreographer and performer Ula Sickle will lead a series of guided sessions in the exhibition space. Photographer Rasa Juškevičiūtė will provide visual insights and document the show throughout its various stages. Her pictures will gradually join the words of writer and curator Bernardo José de Souza. An open-ended book-like structure—conceived in conversation with architecture practice ĒTER—takes the centre stage, acting as a maelstrom of sorts, an axis around and through which all contributions unfold into the exhibition space and create a field for different avenues of attention. #macromuseum #stimuleringsfonds #lithuanianembassy

MANUAL FOR A FUTURE DESSERT has made it to this year’s table! 🎄🧡💙 Edited by @the_real_ida.soul @abinadi_meza and @bassaroni Published by @moussemagazine and @beauxartsnantes Design @godabud , with assistance by @fabrice_dhs — Texts by #gloriaanzaldua #agencyarchitecture @ersela_kripa & @stphn_mllr #olgabannova @amandabeech22 #antoinebousquet #ingridburrington @aaron_s_davidson & @melissadubbin #kellereasterling #fabiengiraud #bruceglasrud#alfredogonzálezruibal #jonathanrharvey @tupcb #stephanielemenager @abinadi_meza #laurahuertasmillán#jasonbahbakmohaghegh #rezanegarestani @land_arts and #idasoulard — The desert and desertification are concepts with unstable, unfixed definitions that haunt current politics and aesthetics. MANUAL FOR A FUTURE DESERT proposes a full-spectrum scanning of the desert and its multiple implications across cultural, technological, political, and ecological concerns. Emerging from an artistic research program conducted in the Chihuahuan Desert on western Texas, this book is a time-space capsule; it collects routes, tools, and understandings on the desert in order to address and act upon issues that shape present and future realities. It is a manual for tapping into the exigency of the desert; it determines the coordinates for finding a future desert without deserting the future.

First iteration of the new identity for Kerenidis Pepe Collection, and its biannual project φαινόμενα (Phenomenon) organised with Association Phenomenon. Starting already next week (July 5–12) in Anafi, Greece. Together with: 3 137, EIGHT, Enterprise Projects, The Island Club and State of Concept, from Athens and Cyprus. Sign up for the newsletter to follow the program! Thank you to @abcdinamo for the elegant Greek letter shapes! #phenomenonanafi #kerenidispepecollection #godabudvytyte #anafi

It was my pleasure to design this card marking 30 years of Witte de With Center for Contemporary Art existence and to welcome its new name—Kunstinstituut Melly—as of 27 January 2021. The name changes, but the building remains, as well as the people running it with love and care for the community. Thank you to Karl Nawrot for willing to pull out the beautiful drawing of the Dutch skies from 2008 drawer! 🌧️⛈️🌩️💨🌬️🌦🌥⛅️🌤🌞 #fkawittedewith #kunstinstituutmelly #karlnawrot #godabudvytyte #namechange

The evocative exhibition "Art on Display 1949–69” at Het Nieuwe Instituut opened its doors already a couple of months ago. After months of work on the design of the show, I finally got to see it myself! The exhibition brings together some of the most progressive post-war exhibition designs by architects in the form of 1:1 reconstructions. It features display structures by Carlo Scarpa, Franco Albini and Franca Helg, Lina Bo Bardi, Aldo van Eyck, and Alison and Peter Smithson. Exhibition architecture: Jo Taillieu A must see when the museums will be open in 2021 again! @nieuweinstituut @jotaillieuarchitecten #hetnieuweinstituut #godabudvytyte #artondisplay

Today: meet the wonderful electronic music composer Éliane Radigue at 3pm at Centre Pompidou! #centrepompidou #annedavidian #elianeradigue #evensfoundation #ircam