Valdas Ozarinskas passed away yesterday and a bad year became much worse. I had heard he was not well when I was in Vilnius last week and I feel awful that I didn't make an effort to see him.
Valdas was a brilliant architect. For years he practiced at the Šiuolaikinio Meno Centras/Contemporary Art Center in Vilnius, Lithuania, creating exhibitions that were stunning. Minimal but aggressive, Valdas's works were comparable in force only to the very earliest moment of minimalist art, before it became a style, an architectural equivalent of industrial music (I mean from the days of Throbbing Gristle, not the drum-machine driven works of the 90s). Valdas publically eschewed ideology but could probe theoretical questions as deeply as any architect I know. We had many conversations whenever I visited Lithuania, generally about the problem of the individual in a post-industrial society. Had he spoken English and had he written his thoughts down others would have understood how deep a thinker we have lost. The loss, to put it in a Lithuanian context, is comparable to the loss of George Maciunas 35 years ago, another figure of similar force, but who I only had a chance to meet once. Their minds were not dissimilar: both Sloterdijkian kynics in the best sense.
He made many projects, but I will only reflect on one here. Valdas often collaborated with Audrius Bučas and together they produced Black Pillow, which was shown at the ŠMC in 2011 and subsequently at the Liverpool Biennial. The show'sweb site wrote that given its exhibition at the peak of the economic crisis in Lithuania,
The two architects’ formalist idea was initially supposed to appeal exclusively to the limits of the viewer’s phenomenological experiences. However, it quickly got wrapped in various stories and interpretations due to its unusually large dimensions, menacing black colour and the moods that prevailed in Lithuania at the very peak of the economic crisis. Black Pillow took a symbolic shape and dimension accumulating all the possible personal and collective failures of our lives.
From our discussions in the gallery next to the black pillow it was clear that Valdas understood and intended such a symbolic dimension from the start. Or more specifically, he intended—as he often did—to give us a neutral but cathetic object that we could project onto as we wished. Never melancholy, Valdas was always relentlessly positive even about the bleakest of conditions, albeit often astounded at the stupidity of our world.
Alain Badiou's 12th thesis on contemporary art reads "Non-imperial art must be as rigorous as a mathematical demonstration, as surprising as an ambush in the night, and as elevated as a star." Nothing could describe Valdas's work better. One night over beers at the ŠMC cafe, its Lithuanian Soviet modernism itself brilliantly reconstructed by Valdas, I read the theses to him, translating them into my broken Lithuanian as best I could and we shared our analysis of the theses.
Even last week Valdas was putting together a final show, at the Antanas Moncys House in Palanga. That we have lost such a mind only proves how stupid our world is. To talk to Valdas was to hear the Lithuanian word "siaubas" or "horror/terror" over and over. That was the madness of this place we inhabit, a world in which we battle against zombie bureaucrats and power-mad psychopaths, where goodness is rarely rewarded but idiocy is. To remember him, what can we do but we keep marching forward, one foot in front of the other and say, anything is possible?