July – December 2013
Decoration of the Justus
Lipsius building during the
Lithuanian Presidency
UR
Gardens of Europe
of the Council of the European
­C U
Union
With Lithuania at the helm of the European Union, some Lithuanian touches have been added to the Council building, Justus
­Lipsius. F­ ollowing the tradition of rotating presidencies, we have decorated it with works of art and design highlighting Lithuania, its culture
and heritage. So welcome to Lithuania’s Gardens of Europe.
The foyer space features modern Lithuanian furniture. We hope it
will be comfortable for both a quiet moment of relaxation and a serious
discussion on key issues like restoring trust in the European Union’s
financial stability and building a credible Europe.
As we search for ways to boost competitiveness, create new jobs and
contribute to a growing Europe, we will hopefully find inspiration in the
artworks conceived in Lithuania’s dynamic and creative environment.
Lastly, the vibrant garden setting reflects an open Europe set to work
with foreign partners. A growing garden is a symbol of harmony and
prosperity – and that is what the Lithuanian presidency wishes to the
European community.
I am delighted that internal and foreign policy decisions significant
to all of Europe will be made in the surroundings of Lithuanian designed
Gardens of Europe. They should inspire us for intelligent, creative and
most importantly necessary work. May it be true for the European Union
that brings us together and also for Lithuania.
Dalia Grybauskaitė
President of the Republic
of Lithuania
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Gardens of Europe
Traditional Craft – Modern Art – Contemporary Design
Following the tradition that allows each presidency to decothe Gardens of Europe. The installation that adorns the Justus Lipsius
building, and the exhibitions of visual art and design work created by
­Lithuanian artists, represent modern creative traditions that have close
ties with our cultural heritage.
The hanging Gardens of Europe in the atrium (entrance hall, level 00)
are the axis of the building’s overall decoration. For our predecessors,
Photo by Arturas Valiauga
rate the ­Justus Lipsius building, Lithuania invites you to take a walk in
Detail of garden created by Roma Gudaitienė
gardens woven from straw symbolized the World Tree, which embodied
a universal understanding of harmony and the world. The peaceful and
As you go along the corridors on level 50, you will see Animals of the
sustainable existence of society and respect for the environment are
New World and two other pieces of Gibavičius’ graphic series: Vilnius,
universal values and aspirations for all Europeans. The installation is
which consists of seven woodcuts, and Windows of the Full Moon, which
a harmonious assemblage, comprised of individual gardens dedicated
comprises thirty-five etchings. The works open up windows to the Old
to each EU Member State. This composition enriches the European
Town of Vilnius and the changing dome of the sky in the hallway’s walls.
cultural heritage, and provides a foundation for contemporary creative
The waiting room space is furnished with specially designed straw
expression. All of the gardens are made using authentic straw garden
furniture. Comfortable, ecological and ergonomic furniture is the perfect
construction techniques.
match for the Gardens of Europe installation, and invites visitors to sit
Some of the original straw furniture, which combines traditional
down for an informal chat.
materials and modern form, is shown in the foyer behind the atrium.
The Presidency reception and waiting rooms are decorated with three
The soft strokes of light and shade cast by the garden-shaped lights
optical impressionist paintings by Kazimieras Žoromskis, which radiate
endow the space with a pleasant intimacy. Here you can find restrained
warmth and light. The Logo sofas of modern design create a solid and
graphic prints by Rimtautas Vincentas Gibavičius, which are dedicated
calm atmosphere, while the red ten-leg chair KU-DIR-KA represents
to the poetry of Lithuanian poet Jurgis Baltrušaitis. Further along,
some flexible and unconventional solutions.
you will be greeted by bronze Animals of the New World by Teodoras
­Kazimieras Valaitis that are on straw pedestals.
4 | 5
graphic art
Rimtautas Vincentas Gibavičius
1935–1993
The graphic artist Rimtautas Vincentas Gibavičius admitted: ‘Our quest
for a path of our own was primarily inspired by older students, books
about Western art which were banned at the time, Lithuanian folk art,
and of course, the work of M. K. Čiurlionis, which in and of itself crushed
the notion of “realism” that the official requirements imposed on us.’
Each of Gibavičius’ works is an utter and musical composition, based
on variations and recurring motifs. He is best known for a series of
woodcuts, the silhouettes of buildings that are ceaselessly interwoven into a melodious fabric and a flawless ability to hide the lines and
neverthe­less, remain clearly identifiable. Skillfully executed prints capture some of the most picturesque landmarks in Vilnius’ history and architecture: old churches, Vilnius University, the town wall, etc.
Abstraction and repetition manifest themselves most clearly in
the series dedicated to the poetry of Jurgis Baltrušaitis. Here straight
lines and diagonals extending into infinity intersect to form stars and
produce new geometric compositions as in a mysterious space atlas.
This looks like poetry transcribed into pure graphic language and reencoded using different signs.
From the series Vilnius
St Anne’s and the Bernardine Church
1967. Woodcut, 50×50
6 | 7
sculpture
Teodoras Kazimieras Valaitis
1934–1974
Having rejected the element of plot and turned to free plastic improvi­
sation, Teodoras Kazimieras Valaitis developed a distinctive and expressive style, and in so doing took monumental decorative sculpture to a
higher level. Equipping some of his works with kinetic elements and
encapsulating others in wavy and smooth surfaces, the artist liberated
them from the confines of three dimensions. In the series Animals of the
New World, the sculptor explores the constitution of biomorphic shapes
and seeks to grasp the realistic and envisioned forms of plants and
animals of the earth and the sea. Each of these pieces appears to be
kneaded from universal living matter, pulsating with elemental forces
and ready to change appearance at any time.
Valaitis was active in the 1960s and 1970s, an ideologically unfavourable period when freedom of expression was hindered by unified
pseudo-aesthetic requirements. He exceled his coevals with a distincthe rough borders of Socialist Realism. Valaitis’ talent was noticed
and his works were shown at international fairs in Leipzig, Montreal,
São Paulo and Osaka. His innovative ideas came to an end with his untimely death.
Photos by Arturas Valiauga
tive expression of ‘Silent Modernism’, that enabled him to go beyond
From the series Animals of the New World
Above: Woman. 1970. Bronze on granite base, h 22
The Birth. 1974. Bronze on granite base, 25×12×10
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painting
Kazimieras Žoromskis
1913–2004
Kazimieras Žoromskis revealed that during the years of forced emi­
gration from Lithuania, while living in France, Spain and the United
States of America, he dreamt about ‘reaching the level of famous
painters’ masterpieces without losing the Lithuanian identity’, so that
his works could return to Lithuania. He succeeded in this. The unique
optical impressionist style of painting which he created and perfected
gave a second wind to the entire Op Art movement, and earned him
international recognition.
The Three Dimensions Series (TDS), which Žoromskis started in
1970, most vividly show his artistic and creative discoveries. Looking
for visual means to convey the optical vibration of light, he used the
two-dimensional plane of the canvas and created an illusion of space
that disobeyed the rules of perspective. These are masterfully executed
works of art, based on optical laws and scientific research of the light
spectrum, in which the artist captured the dispersion of light.
Žoromskis’ works can be seen today in the most famous art ­galleries,
including the Vatican Pinacotheca, Moscow’s Tretyakov Gallery, the
Smithsonian American Art Museum in Washington, and the National
Museum of Bilbao. About 60 of his works are held in the Spanish Royal
Family’s collection, and a collection of 370 paintings put together by the
artist himself is stored at the Lithuanian Art Museum.
tds#304
1996. Oil on canvas, 139×113
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design
Contemporary Lithuanian design combines traditional Baltic
forms with the indispensable requirements of originality, functionality and ergonomics. A chair with too many legs? A felt-covered rocking
chair? Lamps made from traditional tree cake šakotis? All of this was
born as a result of the imaginative interpretation of cultural heritage,
the creative use of natural materials, and the playful inclusion of signature elements of individual style. As is often noted, Lithuanian designers
merge Scandinavian simplicity and southern eccentricity in their work.
Paulius Vitkauskas (b. 1982) can so far be presented as the ­originator
The furniture designed by Nauris Kalinauskas (b. 1972) has architec­
of a single masterpiece. The young artist became famous while still a
tonic forms and clear silhouettes, which are emphasized by the
student, when his ten-leg rocking chair KU-DIR-KA became a symbol
pur­pose­fully chosen materials. Each of the designer’s works reveals
of Lithuanian design. Named after
Vincas Kudirka, the composer of the
­Lithuanian National Anthem, the
chair earned him much praise
his main values: simplicity and the expression of the initial concept.
He ­attaches particular importance to ergonomics, construction, and
technical innovation. Kalinauskas participates regularly in international
design competitions and exhibitions, where his works are frequently
in London at the 2006 exhibi-
praised. The prototype of the Logo sofa that furnishes the Presidency
tion 100% Design. Two years
reception room on the 50th floor won a Red Dot Award in the Product
later, it was equipped with a
Design Category in 2007.
meter that counted every rocking
movement it made. In the 2012
exhibition Everyday Discoveries
in Helsinki, Vitkauskas’ ­KU-DIR-KA
chair was exhibited alongside
Above: Nauris Kalinauskas
Lounge chair Logo. Manufacturer: Softimus
global icons such as Thonet’s
Floor lamp Plus and chair Pixel 004. Manufacturer: Contraforma
chair No 14, and Le Corbusier’s
Opposite: Paulius Vitkauskas
chaise longue B306.
Chair KU-DIR-KA. Manufacturer: Contraforma
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Ministry
of Culture
of the Republic
of Lithuania
Ministry
of Foreign Affairs
of the Republic
of Lithuania
Gardens of Europe project created and implemented by Ekspobalta JSC
Art director: Saulius Valius
Designer: Andrius Ciplijauskas
Architects: Jurga Marcinauskaitė, Justinas Dūdėnas, Laimis Valančiūnas
Art collection curator: Violeta Juškutė
Project manager: Laura Radzevičiūtė
Production director: Vilius Mikolaitis
Production team of the Gardens design objects: Vytautas Musteikis, Tomas Butkus
Text by Rūta Statulevičiūtė-Kaučikienė
Graphic design and layout by Jokūbas Jacovskis
Cover image: Installation Gardens of Europe (detail), photograph by Arturas Valiauga
The circle making up the logo of the Lithuanian Presidency of the
Council of the European Union is the symbol of unity representing
that ­Lithuania will be an honest broker seeking to harmonize different
positions. The logo refers to the united European Union whose countries
want and can work together, foster values shared by Europeans, and
are able to overcome all the arising challenges. The colors of the logo
remind of Lithuania’s relations to the Baltic region and the Northern
Europe region while the blue bow of the EU flag represents universally
shared values and activities. The plait of the Lithuanian national flag
Published by the International Cultural Programme Centre, Lithuania | www.koperator.lt
Supported by the Ministry of Culture of the Republic of Lithuania
Printed in Lithuania by
© International Cultural Programme Centre, 2013
All rights reserved. The reproduction of this programme, even in part, in any form
or medium is prohibited without the written consent of the copyright holder.
ISBN 978-609-8015-36-2
Circulation: 2,000
colors – ­yellow, green and red – complete the logo circle. This link symbolizes the responsibility for the Presidency of the Council of European
Union in the second half of 2013 that is assigned to Lithuania.
m o r e i n f o r m at i o n a b o u t c u lt u r a l p r o g r a m m e
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