• Jonas Nekrašius – Lietuvos žurnalistų sąjungos narys, kultūrologas, knygų autorius;
• Virginija Šiukščienė – Šiaulių „Aušros“ muziejaus direktoriaus pavaduotoja muziejininkystei;
• Antanas Petrauskas – Gerardo Bagdonavičiaus globotinis, daugiau kaip dvidešimt metų artimai pažinojęs menininką;
• Antanas Visockis – dailininkas, G. Bagdonavičiaus mokinys;
• Rimantas Buivydas – dailininkas;
• Juozas Bindokas – Valstybinio Šiaulių dramos teatro aktorius.

Paroda veiks iki kovo 14 d.

APIE PARODĄ

2008 m. Šiaulių dailės galerijoje surengiau parodą „DARBAI“. Esu solo parodų autorius, ir ši buvo pirmoji tokia didelė tiek erdve, tiek rodomų darbų kiekiu. Paroda pavyko, tapo mano veiklos kokybinio lūžio momentu, tam tikru IKI ir PO atskaitos tašku – tai, ką dariau vėliau, lyginau su ja. „DARBAI DU“ – pirmosios tęsinys, antra serija, savotiška „po 20 metų“ versija. Viliuosi, ši taip pat taps nauju atskaitos tašku.

Pastaruoju metu kiek mažiau lipdžiau molį. Lipdžiau siūlą, kad susikurčiau vis naują modelį piešimui iš natūros. Tada piešiau, kūriau monotipijas, graviravau akmens masės plyteles, jas pjausčiau, vėl jungiau… sukausi ratu.

Paroda apie liniją, kuri yra ir priemonė, ir tikslas – fiksuota judesio trajektorija, objekto siluetas ir siužeto vingis, forma, kuri yra turinys. Skirtingos medžiagos diktuoja savo taisykles. Graviruota juoda plytelė primena antkapių plokštes, taip pat turi stilistinių sąsajų su tatuiruočių pasauliu. Nenuostabu, nes jų atlikimo būdas toks pats – liniją kalanti adata.

Monotipijos – palyginti švelnūs judėjimo trajektorijų pėdsakai.

Medinius konstruktus iš pradžių narsčiau kaip priemonę eksponuoti keramikai, vėliau jie tapo savarankiški, netgi naudingi – savotiška mažąja architektūra.

Vazoms panaudojau vestuvėms dovanotos stiklinės vazos siluetą. Keraminės figūros, galvos, paukščiai – vis ieškau naujos prieigos prie senų temų; tai pastanga, ne baigtinė būsena.

– Audrius Janušonis

Audrius Janušonis – Lietuvos ir tarptautiniame meno lauke veikiantis šiuolaikinio meno kūrėjas. Tai vienas pirmųjų Lietuvos keramikos menininkų, pasiūlęs visiškai naują santykį su medžiaga ir erdve, pradėjęs kurti instaliacijas, turinčias pasakojimą ir savitą parodos siužetą. Jo kūrybai būdingas paradoksalus medžiagų gretinimas, detalus skulptūrinių objektų atlikimas, meistriškas gesto ir judesio naudojimas. Audrius Janušonis – išskirtinio kūrybinio mąstymo ir raiškos menininkas, kuriantis įtaigius ir filosofiškus meno kūrinius, atsiskleidžiančius per estetinius, poetinius ir erdvinius kontekstus. Savo kūryboje, naudodamasis įvairiomis meno raiškos priemonėmis, autorius kalba apie socialines problemas, istorinį kultūros paveldą ir pasaulio aktualijas.

Parodą finansuoja Lietuvos kultūros taryba.

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Audrius Janušonis is a contemporary artist active in both the Lithuanian and international art fields. He is one of the first Lithuanian ceramic artists to propose a completely new relationship with material and space, initiating installations with narrative structures and distinctive exhibition dramaturgy. His work is characterized by paradoxical juxtapositions of materials, meticulous execution of sculptural objects, and a masterful use of gesture and movement. Audrius Janušonis is an artist of distinctive creative thinking and expression, creating compelling and philosophical artworks revealed through aesthetic, poetic, and spatial contexts. In his practice, employing a wide range of artistic media, the author addresses social issues, historical cultural heritage, and contemporary global themes.

The exhibition is supported by the Lithuanian Council for Culture.

On Friday, 23 January 2026, at 5:00 PM, the Šiauliai Art Gallery will open the group painting exhibition Adhesions.

Participating artists:
Donata Minderytė, Eglė Norkutė, Liucija Pačkauskaitė, Monika Kornilova, Monika Plentauskaitė, Paulina Domašauskaitė, Vita Opolskytė.

Curator – Vita Opolskytė

Sound – DJ CYBER

Design – Kristijonas Gurčinas

The exhibition will be on view until 16 February 2026.

The fourth week of January is the bleakest. After the hope-scented pre-holiday bustle, with the bright garlands of resolutions already taken down, the dark month drags on slowly—it is almost standing still. This is the time when nothing happens, only snow falls inside you.* And so, in order to (sur)vive or to (get) out, one must look for simple, tangible things. I grow sentimental. Some people go to priests, others turn to poetry—I go to my friends!** Enduring the trajectory of this sad month, I begin to think about painting and about friendship.

They have collided at points that turned into memories, or into things already half-forgotten. Intersections of time, combinations of places, a spectrum of personalities. Contrasts fade, nuances become sharper; sometimes there are simply pauses. Sometimes, because of that, paintings happen. Yet in painting, as in friendship, everything—whether you like it or not—rests on relationship. And in this exhibition, that relationship is particularly peculiar. For some, it developed naturally and unexpectedly in early youth and continues to this day; for others, once inseparably strong, it was cut off in an instant. Some keep their distance, others chatter incessantly, or learn from one another, while the rest—perhaps quarrel, or worse still—mean nothing to each other.

This authorial relationship, based on the principle of adhesion,*** has become a staged bonding both between interpersonal ties and between the layers of paint in a picture. The name “seven painters”**** will probably not stay with them for long—most likely this is a one-time occurrence. “Is there a greater happiness in the world? <…> we shall walk here for at least two hours.”***** Away from the rapid pace of cultural life, in a city where the sun, at least symbolically, is a little more abundant than elsewhere.

Curator – Vita Opolskytė

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** Virginia Woolf’s remark on friendship between women from her personal notebooks, The Diary of Virginia Woolf.

*** Adhesion (Lat. adhaesio) — the bonding of surfaces of different materials due to molecular attraction; in this exhibition it is used as an ambivalent relationship both between the participants and between the layers of paint in a painting.

**** A reference to the artists’ group Four Painters (Aušra Andziulytė, Elena Balsiukaitė-Brazdžiūnienė, Aušra Barzdukaitė-Vaitkūnienė, and Dalia Laučkaitė-Jakimavičienė), active in 1990–2000.

***** A quote from Jane Austen’s Sense and Sensibility, referring to the sisters’ brief joy during a walk.

On Friday, January 23, 2026, at 5:00 PM, the photography exhibition. “Year of the Horse” by photographer Stasys Povilaitis will open at the Šiauliai Art Gallery.

The exhibition will be on view until February 16, 2026.

The best way to begin the Year of the Horse is with the exhibition “Year of the Horse” by Panevėžys-based photographer Stasys Povilaitis. Among Lithuanian photographers, Stasys Povilaitis has perhaps most profoundly understood the essence of the horse—its physicality and psychology, its beauty and its drama. He has devoted many years of his creative practice to studying the photogenic nature of this animal. However, his observation of horses began much earlier. As Stasys Povilaitis recalls:

“My earliest childhood memories are connected with horses. I usually spent my summer holidays with relatives in the countryside. There I learned how to harness and unharness a horse, and there I fell off a horse for the first time. I could even jump a ditch while riding, although today I certainly would not repeat such a feat. I loved visiting the hippodrome. Later, I began traveling to stables. In this way, I journeyed all across Lithuania until I finally stayed longer in the Kėdainiai district, where I discovered the largest herd of heavy draft horses in Lithuania. Over time, this herd became the constant focus of my observations and a source of photographic inspiration. I observed these horses for a long time. I photographed them even longer.”

Stasys Povilaitis was born in Kaunas. Since 1989, he has been a member of the Lithuanian Photographers’ Association. In 2005, he was granted the official status of an artist. He has participated in group exhibitions in Lithuania and abroad (Switzerland, Denmark). He is a participant in two international photography plein-airs, BIALKA.

Major works: From the Life of Horses (1984– ); Faces of New York (1995); Juozas Miltinis (1986–1993); Stasys Eidrigevičius (1992– ); A Day in the Life of a Knife Sharpener (2001); Years and Faces (2009– ); Portraits Based on the Poems of M. M. (2014); Metamorphoses (2015– ); States (2018).

Solo exhibitions: From the Life of Horses, Art Gallery, Panevėžys, 1993; The Great Figures of Panevėžys, Photography Gallery, Panevėžys, 1993; From the Life of Horses, Vilnius Photography Gallery, Vilnius, 1995; Faces from New York, Art Gallery, Panevėžys, 1997; Juozas Miltinis, Algimantas Gallery, Panevėžys, 1997; Horses, Prospektas Photography Gallery, Vilnius, 2002; Horses, Art Gallery, Šiauliai, 2002; Only Horses, ZPAF Gallery, Old Town, Warsaw, 2005.

Group exhibitions: Art Gallery, Panevėžys, 1994; Das Baltische Fotolinse, Schloss Holligen, Bern, Switzerland, 2003; Through Lithuanian Eyes, Photography Museum, Herning, Denmark, 2003.

Photography collections: Lithuanian Photographers’ Association, Vilnius.

Publications: Photographs. Vilnius: Nacionalinė knyga, 2002.

Paroda veiks iki vasario 16 d.

Juk visi esame patyrę situaciją, kai daina, melodija, frazė nenutrūkstamai ir nevalingai „skamba mūsų galvoje“. Tokios situacijos kartas verčia jaustis nepatogiai, bandant atsikratyti įkyrios informacijos. Mumyse šios vis išnyrančios ir išnyrančios nuotrupos nors ir neturi pragmatinės vertės, tačiau iš „nekontroliuojamos“ nežinios jų yra prisikaupę mūsų pasąmonėje. Ir kuo toliau, tuo labiau man atrodo, kad mes esame „padaryti“ iš to, kas dėl ne(pa)aiškinamų, jau pamirštų priežasčių buvo išmokta, pasisavinta ir įsisavinta. Tai ilgainiui tapo tarsi ir nereikalingu, bet kartu ir mus „veikiančiu“ kasdieniu mūsų gyvenimo fonu. Paroda „Print of Trth / Trouth of Print“ sukurta „medžiojant“ tuos fragmentus, tekstų ir vaizdų. Tam tikri nevalingai atsiradusios medžiagos šaltiniai gana nesunkiai identifikuojami, bet dalis taip ir lieka kaip informacijos sraute pasiklydę neartikuliuoti duomenys. Apskritai ši paroda tai mano autoportretas ir autobiografinis komiksas. – GyS

On Friday, January 23, 2026, at 5:00 PM, the personal exhibition of photographer and visual artist Gytis Skudžinskas, “Print of Truth / Truth of Print,” will open at the Šiauliai Art Gallery.

The exhibition will be on view until February 16.

We have all experienced situations when a song, melody, or phrase plays incessantly and involuntarily in our minds. Such moments can sometimes feel uncomfortable, as we try to rid ourselves of intrusive information. Although these repeatedly resurfacing fragments within us may lack pragmatic value, they have nevertheless accumulated in our subconscious, emerging from an “uncontrolled” realm of the unknown. And the further I go, the more it seems to me that we are “made” of what, for inexplicable and long-forgotten reasons, was once learned, absorbed, and internalized. Over time, this has become something seemingly unnecessary, yet at the same time a daily background that continues to affect us.

The exhibition “Print of Truth / Truth of Print” was created by “hunting” these fragments of texts and images. Some sources of this involuntarily emerging material are relatively easy to identify, while others remain lost in the flow of information as inarticulate data. Overall, this exhibition is my self-portrait and an autobiographical comic. — GyS