raimundas malasauskas

14-15 November: In the wake of the clowns’ departure, a singular two-night journey unfolds with a curious cast: a pianist, a hypnotist, an amateur chiromancer, a whistleblower, an impostor, Atoui’s ghost, couturiers and choreographers, a durian, and surprise guests. The cast remains the same, yet no two evenings are alike—each night a live, home-made plotless musical at The Players, New York’s historic club for actors and people of letters, founded in 1888. Under the graceful invitation of Defne Ayas
Under the auspices of the Lithuanian Cultural Institute @lithuanian_culture_institute @theplayersnyc @defneayas___ @godabud @performanyc

Two books in one volume: the publication Suzon is printed on the reverse of the revised (2025) edition of my 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). We’ve just launched the new combined volume at Draugu vardai @draugu_vardai in Vilnius — now it is available at bookshops worldwide and online. I would like to thank many people who remain in continuous conversation throughout life, but in the context of this book my particular gratitude goes to Elena Narbutaitė @spottedraphaele , for being at the core of the Suzon project since the beginning; Krist Gruijthuijsen, for the magic power to initiate and pursue the unforeseen; Tom Engels @tom.leo.m.engels , for a dimensions-bending conversation and deep editorial investment; Yana Foqué @yana_foque , for sharp suggestions and witty revelations; Valentinas Klimašauskas @valentinas_klimasauskas and Virginija Januškevičiūtė @deep__oceans , for never-shaken loyalty and inspiration; David Puig @david_puig_ , for the invitation to work on the book in Delhi; Stijn Maes @stijn.ay.maes , for the invitation to work in the printing workshops in Kasterlee; Ronja Andersen @ronja_andersen , for the Difficult Times typeface; Vytautas Volbekas @vvolbekas , for adapting the font for Lithuanian; Stuart Bertolotti-Bailey, for incredible patience, precision and humour as copy-editor; Candice Lin, for the wildest epistolary drifts; Alix Eynaudi @alixeynaudi , for our shared crypto-choreo-graphic practice; Eleni Kostika for advice on scheduling the book; Goda Budvytyte @godabud , for decades of joyous collaboration and trust; Maxine Kopsa @maxinekopsa , for writing the two prefaces; Aldona Malašauskienė, for writing the same letter twice and being the best mother; all the artists and correspondents who appear here, for having created an opportunity for all this to exist; and the reader, for opening these pages. You can order the book by a couple of clicks: /publications/

Thank you everyone for being at Mundus Mal-a-Showcase at CWB in Paris — you made it spin in and out of character. Thank you, Centre Wallonie Bruxelles and Lithuanian Cultural Institute for making it happen. Thank you, Rasa @rasaj for capturing some of the atmospheres on your film. Thank you, Defne Ayas @defneayas_ for your spontaneous words: “The atmosphere is created from ether, from scratch, starting from the stage of a theater, with Sandra’s hand-picked and made flamboyant costumes bouncing off each other through the space inhabited by a cast of select artists. On stage, an exhibition of gestures and artworks have their intuitive scoring—an archaeological language play on a label inside a refrigerator, accompanied by the sounds of a glitch in a newly invented musical instrument perhaps? Carrot-cardamom mezcal flows freely, reserved for those who reject it, and the jokes and twists keep coming, generous at every turn. The stage extends to other parts of the theater, anchored in inversions with film and photography. Friendships bond in laughter, as the hypnotic music of Tarek elevates the air, like rotating mirrors reflecting a kaleidoscope of dancing bodies—children, still alive within us. New studio visits unfold impromptu at the bar, with red-threaded sun stones for misty days offered as tokens. The night is punctuated by antelope-like movements from audience members, with happy wives, and shy new and old lovers alike. […] It felt like a deep dive into a "once" and "perhaps even now" moment—a blend of magic and possibility, all woven together by long-standing relationships and evolving dynamics of friendship and love. My phone died for life, which made it all the more enjoyable.” #saisonlituanie2024 #candicelin #tarekatoui #pierrebismuth

Photos of Oo by Morten Norbye Halvorsen [...] slinging in a movement of a constant twist between the two (at least), suspicious of one, entailed by organisational surfing. Drawing on interest in forms of organisation rather than organisation of forms [...] #lithuaniandcyprus

"What if images were operating like a call ? What if they could do something?" Myriam Lefkowitz asked after having received two scenes in an envelope. One of them is a portrait of Grand Union choreographers in the moment of rest or performance; the other one, a tinikling dance on the boat from the Philippines to the USA a decade earlier, and captured in the video by Malak Helmy in Cairo. It is an exhibition of two photographs I've put together with Tom Engels and Montos Tattoo in Vilnius. Julie Peeters has designed it, Simone Forti wrote a new poem (a link in a bio), and Moriah Ulinskas shared some words about her mother's dance: "She tells me that the man she danced with in the photograph was a poor dancer. That they had found the bamboo sticks in the rec room — undoubtedly left behind by previous passengers who —on so many identical journeys— performed the same ritual, dancing their last tinikling on their way to the western world. She told me that she went to bed at 9pm every night, as her mother had made her do her whole life, and slept below the muffled sounds of banquets and balls and drunken raucous laughter of the tourist class above her. Her journey like a reverse mirror to theirs: she traveled quietly deep in the ship's hull as it sliced west across the dark pacific night. […] There is also a mirror in the photograph of Grand Union that Simone Forti's new poem is about: the five people in the picture are her friends (colleagues) and contemporaries. The mirror behind them reflects the space in front where the camera is positioned: it is full of photons' buzz and electro-pheromonal charge. As I am looking at Gediminas and Gerda licking post-stamps and gluing them on each envelope containing this exhibition, I am thinking how their DNA gets mixed with the glue under each post-stamp, then travels to bedrooms, offices, and kitchens worldwide. This intimacy is a tribute to dance, communality, senses, images, and those who have received it — whether in their houses or here. We've sent hundreds of them… and I wish we could send them to everyone who is reading this! #simoneforti #myriamlefkowitz #tinikling

“You had received a Soviet star (I apologize for my unconscious inappropriateness) and it was a wax figure of mother and son. A bit like a medardo rosso” a dear friend wrote this morning. But in the photo by Jill Mulleady — another sculpture: Man (1991) by Petras Mazuras #petrasmazūras . It is an amalgam of contradictory stories. Some say it was supposed to be an alien, “a boy from the stars”, some — a veiled allusion to a Christian cross, others remember it being a late arrival to the building that was almost completed when “the boy” has landed here — like a UFO. Mars Returns here tomorrow 17:00h. For more — follow the link in the bio, or simply come to Mykolas Zilinskas gallery: Jill may be still painting on its walls.

‘A thread for Alix Eynaudi woven into a linen table placement by Genė Janušauskaitė in 1936, out of the flax she has sawn and harvested herself. Photographed by Kristien Daem in 2022 after Aldona Malašauskienė has revealed the placement to her son Raimundas' - the thread is woven inside the publication by Alix Eynaudi, designed by Goda Budvytyte, to be unveiled coming Tuesday at the Volkskundemuseum in Vienna -- a solstitial celebration (a link in a bio)

@ugadnaka Ugne, il mago, festeggio il tuo compleanno in neve e arcobaleni, mentre ti auguro balli fantastici in tutto il mondo - in gloria!

The Rehearsal, a (shady) dance by Alix Eynaudi @_________alix #alixeynaudi for Jason Dodge’s @fivehundred_places #jasondodge Cut a Door in the Woolf exhibition at MACRO Rome @macromuseoroma tonight and tomorrow