Emilija Škarnulytė: World and Its Models

Emilija Škarnulytė: World and Its Models

Emilija Škarnulytė, Aldona (still), 2013.

Emilija Škarnulytė: World and Its Models
Screening and discussion

Admission starts at $5

January 11, 2024, 7pm
172 Classon Avenue
Brooklyn, NY 11205

Join us at e-flux Screening Room on Thursday, January 11 at 7pm for World and Its Models, a screening of films and works-in-progress by Emilija Škarnulytė, followed by an in-person discussion with the artist.

The event presents Škarnulytė’s works, probing into world-making across different temporalities. The films chosen for this screening defy the conventional narrative of technological advancement by embracing myth as a tool for envisioning alternate realities and futures. Beyond merely representing scientific phenomena, they engage in an aesthetic exploration of contradictory temporalities, offering a unique perspective on how they shape our understanding of the world. 

Škarnulytė’s works could also be seen as examining the essence of research-based artists’ films. Utilizing advanced image-making technologies, Škarnulytė challenges the traditional concept of documentary as simply a representation of indexical reality. Her films not only explore the limits of realism but also contemplate the nature of the (in)visible reality, increasingly influenced by new image-making technologies. 


Mirror Matter
(2018, 11 minutes)
The film presents a vision of post-human mythology, highlighting how scientific machinery has been used to probe and measure our universe. It includes scenes from the Large Hadron Collider (LHC), the world’s largest particle accelerator, and the Antimatter Factory. The production of antimatter, especially in the form of anti-atoms, is an extremely challenging process, though individual antimatter particles are commonly created in particle accelerators. Partially shot at the European Organization for Nuclear Research (CERN), the film creatively combines factual and fictional elements to depict the activities at the LHC.

Aldona (2013, 13 minutes)
In the spring of 1986, Aldona lost her vision, resulting in permanent blindness. The cause was nerve damage in her eyes, which doctors speculated might have been due to the Chernobyl power plant explosion. The film follows her through a daily sojourn to Grutas Park, touching both the past and the present.

Rakhne (2023, 6 minutes)
Data is a tangible entity on Earth, not just an abstract concept. As we grapple with the limitations of storing data in conventional environments, especially given the rapid increase in data generation, those managing cloud servers are exploring increasingly innovative storage methods. The deep ocean presents a paradoxical solution. It offers stable temperatures, predictable environmental patterns, and protection from human error and the fluctuating climate above sea level. However, it is also akin to a “black box.” Lacking close human supervision, it is exposed to a range of unforeseen risks, including marine fouling by invertebrates, chemical reactions, and unpredictable seismic activities, introducing new potential vulnerabilities.

Visions in the Desert (33 minutes)
A screening of two works-in-progress. A presentation of a rough cut of an homage to visionary architect Aleksandra Kasuba will be followed by a screening of a poetic meditation on the lifelong journey of one man’s never-ending search for home—a film-in-progress dedicated to African-American refugee, legendary jazz musician, and spiritual searcher Abshalom Ben Shlomo.

For more information, contact program@e-flux.com.

–Two flights of stairs lead up to the building’s front entrance at 172 Classon Avenue.        
–For elevator access, please RSVP to program@e-flux.com. The building has a freight elevator which leads into the e-flux office space. Entrance to the elevator is nearest to 180 Classon Ave (a garage door). We have a ramp for the steps within the space.                 
–e-flux has an ADA-compliant bathroom. There are no steps between the Screening Room and this bathroom.

Film, Technology, Data & Information
Video Art, Documentary, Artistic Research, Nuclear War, Worldbuilding, Science, Memory

Emilija Škarnulytė is an artist and filmmaker, born in Vilnius, Lithuania. Working between documentary and the imaginary, Škarnulytė makes films and immersive installations exploring deep time and invisible structures, from the cosmic and geologic to the ecological and political. Winner of the 2019 Future Generation Art Prize and the Ars Fennica Award 2023, Škarnulytė represented Lithuania at the XXII Triennale di Milano and was included in the Baltic Pavilion at the 2018 Venice Biennale of Architecture. Her immersive installation Æqualia (2023)is opening at Canal Projects, New York on January 19, 2024. She most recently presented works at MORI Art Museum, Kiasma, Gwangju Biennale, Helsinki Biennale, Vilnius Biennale, Henie Onstad Triennale, and Vilnius Biennale of Performance Art. She has had solo exhibitions at Ferme-Asile, Sion (2023); Kunsthaus Pasquart, Biel/Bienne (2021); Den Frie, Copenhagen (2021); National Gallery of Vilnius (2021); Künstlerhaus Bethanien, Berlin (2017); and Contemporary Art Centre CAC of Vilnius (2015). She has films in the collections of the Centre Pompidou, Kadist Foundation, HAM, and IFA, and her works have been screened at the Tate Modern and Serpentine Gallery in London, Centre Pompidou in Paris, Museum of Modern Art in New York, and numerous film festivals including in Rotterdam, Busan, and Oberhausen. She is a founder and currently co-directs Polar Film Lab, a collective for analogue film practice located in Tromsø, Norway and is a member of the artist duo New Mineral Collective.

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