Specification Video performance. Video installation.
Video HD video
Equipment Video projection, monitor, rubber raft.
Year of production 2013
Context Skulpturale Handlungen | Sculptural Narration.  11.01.- 02.02.2013. Curated by Dr. Erika Wäcker-Babnik
Location Kunsthalle WhiteBOX, Munich
Sound Andreas Usenbenz
Reviews | extracts Catalogue Skulpturale Handlungen | Sculptural Narration. ISBN 987-3-00-040190-9
Copyright | Photo by Videostills; Vassiliea Stylianidou (exhibition view)
Thanks  Gisela and Erwin von Steiner Stiftung


Video performance.
My intention was to create a metaphorical work while re-using performative figures - the crow, the owl and the sheep - which I had developed for the project “Sculptural narration" between 2006-2011 by integrating my own body. The costumes for these figures were designed by combining clothes and products in a semi-absurd fashion. In the video work “Lakeside_finish,” when appearing in the cold surrounding, these figures interact with each other, yet, they do so in an alternating succession. Since each of these figures acts solitarily in the video,
for the exhibition, I have constructed an installative environment to render possible their encounter.


History of the project  "Sculptural Narration"

The video works by Patricija Gilyte are created as performances for camera, mostly out of doors without an audience. Nature serves as an extension of her studio, with endless space. The features of the landscape and above all the seasons influence the resulting forms. The works are highly metaphoric. Even her use of a blue screen should be considered more as a metaphor than as a film technique. The materials used are soft, protective, insulating (plastic foam, blankets, overcoats, rucksacks). There is often a crossover between sculpture and video projection, with selected formal elements of the videos being displayed as sculptures in the exhibition room.

I. "Skulpturale Handlungen", 22.07. - 18.08.2006, Galerie der Künstler, Munich, Germany

Video works CORVIDAE / Tree |  CORVIDAE / Field, 2006

A full-wall video projection shows a tree (autumn/spring, without leaves), in which dozens of people can be seen climbing about in the silhouette of its branches. When you take a closer look you realise that in fact they are all the same person and that the number of people in the tree keeps changing. (...) The camera angle is fixed and there is little evolution in the story line: the tree gives the impression of being a still image.

"A typical example is Patricija Gilyte's work entitled "Corvidae" in which an oak tree is populated with mysterious people wearing dark-coloured clothes. Like crows, they perch in the branches and seem to form a unity with the tree. But then you look closely, you realize that each one is a cloned image of the artist."
(Text by Dr. Cornelia Gockel © 2006)

"I increasingly understand nature as my extended studio. Thereby the question about free space and about possession became interesting for me - how much outside space is available to a person? During my childhood in Soviet Lithuania the air, lakes and forests belonged to the nation. Ideologically speaking “to the people” and thereby to all of [us] Lithuanians. The forest was also ‘my forest’, never a private restricted area. (...) Thereafter, I began to think about birds and the space that they occupy and began to produce videos on this theme. They have freedom to choose their living space."
(Text from the interview: Georg Elben in conversation with Patricija Gilyte, Cologne, July 29th, 2008. © 2008)

II. "Heykesli Eylemler / Sculptural Narration", 14.02. - 14.03.2009, BM Suma Contemporary Art Center, Istanbul, Turkey

Video work UV400, 2008. Performance CAPTURE DON'T CATCH, 2009


"In the video UV400 a mysterious figure with gloves, scarf and snowboard goggles  sits on the observation post within the autumn forest. In Istanbul, Gilyte combined this video work with a live performance: the artist stalking the visitor from her perch position, watching through snowboard goggles and an "feather" wreath of double-rowed black gloves. Automatically, one had the urge to catch the performing artist's attention through eye contact or a salutary movement. But she just answered eatch attempt with the perfunctory click of a camera. Having become an accomplice, the visitor now took on the role of observer. "
(Text by Dr. Erika Wäcker-Babnik, © 2011)

III. "Glyptikes Afigisis / Sculptural Narration", 15.05. - 31.07.2010, Museum Alex Mylona- Macedonian Museum of Contemporary Art, Athens, Greece

For her video work OVIS ARIES Patricija Gilyte has developed a sheeplike figure, covered with balls of wool and protected by knee pads and gloves. The sheep flock consists of cloned, multiplicated figures resembling a sheep. They seem passive. (...) Sheep have had a strong presence in many cultures, especially in areas where they form the most common type of livestock. There are also many ancient Greek references to sheep (“Chrysomallos”). Initially, sheep were kept solely for meat, milk and skin. Today sheep (“Ovis aries”) are an entirely domesticated breed which are largely dependent on man for their health and survival. Wool was one of the first textile fabrics, until the wool prices began to fall dramatically as a result of the cheap prices for synthetic fabrics.

works 2010 OVIS ARIES