It's a privilege to be speaking about the work of Aleksandra Kasuba at the National Art Gallery (Nacionaline Dailes Galerija) in Vilnius this coming Thursday at 5pm.
One of my earliest memories, from when I was four, is crawling through her Live-in Environment, which she had installed in the townhouse that she and her husband, sculptor Vytautas Kasuba owned. You can imagine the impact it had on me.
In my talk, I will focus on Kasuba’s constructions of the 1960s and 1970s in which she worked with high technology fabric from Dupont to create environments that occupy a third spatial order, neither art nor architecture. I will also read her work against a larger discourse on art and architecture in New York City at the time, revealing her own approach to problems that challenged other avant-garde artists and designers of the day.
The occasion is the opening of a reconstruction of her 1975 project "Spectrum, an Afterthought " which she conceived of after the installation of "Spectral Passage" at the De Young Museum in San Francisco.
Kasuba's work is uncannily similar, and in many ways to the digital architecture of the contemporary era (not to mention Richard Serra's torqued ellipses). Still, the diaphanous qualties of the fabrics that she worked with give it a lighter feel and mark it as distinct from architecture (she was neither trained as an architect nor did she consider herself to be one). Instead, it strikes me that these kind of inhabitations are closer to tents, perhaps structures that nomads might construct within the non-places of the contemporary world. Imagine if airports were filled with structures like these, as spaces to pause in.
If you are in Vilnius that day, I hope you can make it. I'm afraid that my talk will be in English although I'll be delighted to take questions in Lithuanian as well as English.