Dymaxion

The first-floor gallery, currently undergoing renovation, will feature exposed ceilings with visible metal grids, wiring, ventilation ducts, and aluminum structures. These elements become part of the exhibition itself, reflecting the intersection of digital and physical realms and evoking post-industrial architecture as a metaphor for virtual reality. The title “Dymaxion,” coined by futurist Buckminster Fuller, refers to achieving maximum efficiency with minimal energy. This principle is echoed in the exhibition’s structure, where technology and art merge into new forms of interaction and meaning. Materiality is central to the exhibition. Wires become digital nerves, embedding virtual processes into physical space. A projected video game image on a curved wall evokes a space station window, while references to Stanisław Lem’s “Solaris” and Franz Mesmer’s theories of animal magnetism suggest a fluid, interconnected energy between matter, perception, and emotion. Aluminum plays a symbolic role as a post-industrial material—light, strong, and transformative. Reliefs made from melted car parts become new media surfaces, resonating with the layered abstractions in Mantas Valentukonis’ paintings. Agata Orlovska’s installation “Do Not Go Gently Into That Good Night” explores human-technology interdependence, using solar modules activated by the presence of the viewer. In “Lady Died,” Deividas and Mantas Valentukonis combine ritual and illusion, referencing a Slavic childhood levitation game to explore collective belief and transformation. Mantas Valentukonis’ paintings bring together materiality, digital perception, industrial memory, and mythic imagination. His work reflects the exhibition’s core themes: ritual, transformation, and liminality.