Wed 7 December 2022 | 8:00 pm - 10:00 pm
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ืดAccidental Poemsืด is an interdisciplinary music festival, focusing on the artistic heritage of the director and poet Jonas Mekas. Mekasโ€™ movie diaries are considered cornerstones in the history of avant garde cinema, an artistic practice which made him a key figure in the experimental art scene of New York since the 60โ€™s. Though he was not a musician, sound and music played an important role in his movies and within the cultural milieu created around him. Accidental Poems is not trying to represent Mekasโ€™ musical work, as such, but to create a happening through the use of his own archival materials, and musical works that relate to him in a direct or imagined way.

The starting point of this project is found in the famous saying by Mekas: โ€œnow we are hereโ€, which also titles one of the musical bands he was involved in. โ€œNow we are hereโ€ encapsulates the spirit of the avantgarde, as the poetic force found in the dangerous movement ahead, towards the unknown, the unexpected. With no less importance, it also directs thinking towards, the communal aspect of which Mekas was working, and being expressed through his entire work.

Accidental Poems is a collaborative project of Music Information Centre Lithuania and Felicja Blumental Music Centre and Library, part of Jonas Mekasโ€™ centennial organized by Lithuanian Cultural Institute. The project was made possible by the generosity of Sebastian Mekas of Jonas Mekas Estate, who allowed us access to rare archival footage. The festival received an additional support from the arts department of Tel-Aviv-Jaffa municipality.

The Festival dates are 7-9.12, including three events:

Wednesday 7.12 | Archival Encounters – Chamber concert | 20:00 at Rubin Museum *Tickets registration link> bit.ly/3U3ak9k

Thursday 8.12 | Temporary Soundtrack – Cross-disciplinary Musical event | from 18:30 at Liebling House

Friday 9.12 | Artmachines: Thinking with Jonas Mekasโ€™ Practice – Symposium & Workshop | from 10:00 at Liebling House *Tickets registration link >bit.ly/3GGrIOj

~Entrance to of all the events is free~

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Wednesday 7/12
Archival Encounters – Chamber concert – 20:00 at Rubin Museum (14 Bialik st.)

A program of classical and contemporary compositions that were inspired by Jonas Mekas, selected from the archives of the two music centers – Music Information Centre Lithuania and Felicja Blumental Music Centre and Library.

Pianist Marta Finkelลกtein presents the panorama of Lithuanian classical and contemporary music, from Lithuaniaโ€™s greatest classical composer and painter Mikalojus Konstantinas ฤŒiurlionis (1875-1911) to the young authors. As the final act, violinist Yael Barolsky and pianist Ofra Yitzhaki will present the piece Hora for violin and piano (1936) by Verdina Shlonsky (1905-1990), the first lady of Israeli music. The piece is inspired by the traditional Hora dance with its poignant rhythms and lively atmosphere.

Concert Program:

1. Performer: Marta Finkelลกtein (piano) –
– Julius Aglinskas – 3 pieces
– ลฝibuoklฤ— Martinaitytฤ— – Togetherness (2009)
– Julius Andrejevas – Fate (2018)
– M.K. ฤŒiurlionis – Allegro. Prelude from Little Sonata (1905)
– M.K. ฤŒiurlionis – Oh, Forest, Forest (I, II, III) (1906)
– Anatolijus ล enderovas – M. K. ฤŒiurlionis’ Sketches: Vignette for a Folk Song, Amber Palace, Angel (1994)
– Dominykas Digimas – As It Came Into My Little Attic (2019)

2. Performers: Yael Barolsky (Violin), Ofra Yitzhaki (Piano) –
– Verdina Shlonsky – Hora for violin and piano

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Thursday 8/12
Temporary Soundtracks – Cross-disciplinary Musical event – from 18:30 at Liebling Haus (Idelson St 29)

An audio-visual happening, celebrating Jonas Mekasโ€™ archival footage, generously contributed by Jonas Mekas Estate and Sebastian Mekas. The footage consisted of nine video tapes filmed during his later years. We have asked a diverse group of musicians and artists to propose a performative encounter with the raw footage.

The curatorial question that Temporary Soundtrack wishes to raise concerns about are the precarious relations between sound and image, focusing on the performative space required to sustain such unnatural relations. Mekas used such precariousness as a poetic force that drove his films, especially in his diary format, where sound always comes as an afterthought. Another critical aspect of the project, relates to the communal manner of Mekasโ€™ filmmaking, never a documentary yet always looking/capturing the immediate surrounding of life around him, the mundane and the celebration of the everyday. As a consequence, Mekasโ€™ cinematic expression had always been shaped in relation to other practices, in many cases to the practice of other artists, or by the daily activities made by others. It is from the gaze outside, that Mekas forms his unique poetic expression. Temporary Soundtrack does something similar in the opposite direction, now it is Mekas himself that becomes affected by other artists’ practices. Mekas becomes a site for observation, and poetic deciphering.

Schedule:

18:30
Ground floor, Gallery
Rafi Balbirsky
Video Guitar – Playing a guitar triggers and processes video samples such that riffs and chords become layers of light and sound sequences.

19:00
2nd floor, Living Room
Leri Matehha – The Personal Trap
A lecture performance about the familiar and the foreign. Tracking down the uncanny moments with the help of Jonas Mekas footage.

19:30
Ground floor, Studio
Hagai Izenberg – Performative intervention with the Excerpts installation

20:00
Floor -1, Carpentry Shop
Orr Sinay – Transparent
Where words end, other noises emerge – the friction between recorded self portraits continues a division of play between the wooden body of the contrabass, the basement, the hiss of things.

20:15
2nd floor, Living Room
Yonatan Geron & Uri Sandbank Rahat
Video-performance – through a series of thoughts, noises and daily gestures, an additional associative narrative emerges, hovering-over and entangled-with Mekasโ€™.

20:30
Floor -1, Carpentry Shop
David Oppenheim – Jonas Mekas Looped
Improvising with audio-visual fragments, selected in real time, cut, looped and layered as if playing a musical instrument.

21:00
Ground floor, Gallery
Adaya Godlevsky & Haggai Fershtman – Phantasmatic momentum of pushforward action
A musical dialogue/reaction to the visual text through three phantasmatic momentums: (Aria) the ritual, the poetic and the bracketing; (Recitative) reality in action advancing by all means, the narrowing gaze; (Liminal) paths between stoppages and the eternal flow, affecting the observer/listener..

21:30
Ground floor, Gallery
Sharon Kantor & Ariel Kleiner
An improvised duet for video, two guitars and voice – video fragments are chopped to units that becomes a free musical instrument, in the dialogue created, dead time is being woven into living time.

22:00
2nd floor, Living Room
Nimrod Gershoni – Heaven & Earth Cafe
Performance hangout – people are invited to chill in the analog salon.

Ongoing works:

1st floor, Research Rooms
Assaf Tager
Traveling between times – from video to film through a Bolex camera.

1st floor, Secretariat Window
Archival Peaks
Selected materials from archival footage – projection (ongoing)

2nd floor, Bathroom
Guy Fleischer & Natalie Feldesman – Mekasynth
Archival footage becomes matter for a program that produces sound directly from data existing in pixels, and as such provides sound to the imageโ€™s materiality.

2nd floor, Kitchen
The Pornograph – ืณRichter Mon Amourืณ (Myth’s cut)
A noise machine assembled from a seismograph, phonograph, and tattoo machine. A special edition of the work, in homage to Jonas Mekas. A sensor attached to a screen translates impressions on the screen to vibrations, and passes the information forward to a needle, etching a revolving Mythos beer can.
Edited by Jade Marchandeau

Ground floor, Studio
Hagai Izenberg – Excerpts
Installation
This work detaches video and audio from their origin as they are being recontextualised to create a new piece.

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Friday 9/12
Artmachines: Thinking with Jonas Mekasโ€™ Practice – From 10:00 at Liebling Haus (Idelson St 29)

A morning of conversations and a โ€˜walkshopโ€™ examining Jonas Mekasโ€™ practice, with selected artists from among the festival participants.

Program:
10:15 – A conversation between Radvilฤ— Buivydienฤ— (Music Information Centre Lithuania) and composer Dominykas Digimas (Lithuania)
10:45 – Q&A
11:00 – Break
11:15 – Assaf Tager – Reverse to Film experiment TALK
12:00 – Break
12:45 – Walkshop by Dominykas Digimas – From Liebling House to the Beach.

ืฉื™ืจื” ืžืงืจื™ืช ื”ื•ื ืคืกื˜ื™ื‘ืœ ืžื•ื–ื™ืงืœื™ ืจื‘-ืชื—ื•ืžื™, ืืฉืจ ื‘ื•ื—ืŸ ืืช ื”ืžื•ืจืฉืช ื”ื™ืฆื™ืจืชื™ืช ืฉืœ ื”ื‘ืžืื™ ื•ื”ืžืฉื•ืจืจ ื’ืณื•ื ืืก ืžืงืืก, ืžืชื•ืš ืคืจืกืคืงื˜ื™ื‘ื” ืžื•ื–ื™ืงืœื™ืช. ื’’ื•ื ืืก ืžืงืืก ื”ื™ื” ื‘ืžืื™ ืงื•ืœื ื•ืข ืคื•ืจืฅ ื“ืจืš, ืืฉืจ ื™ื•ืžื ื™ื• ื”ืงื•ืœื ื•ืขื™ื™ื, ืžื”ื•ื•ื™ื ืื‘ืŸ ื“ืจืš ื‘ื”ื™ืกื˜ื•ืจื™ื” ืฉืœ ื”ืื•ื•ื ื’ืจื“, ื•ื”ืคื›ื• ืื•ืชื• ืœื“ืžื•ืช ืžืคืชื— ื‘ืขื•ืœื ื”ืืžื ื•ืช ื”ื ื™ืกื™ื•ื ื™ืช ื‘ื ื™ื•-ื™ื•ืจืง ื”ื—ืœ ืžืฉื ื•ืช ื”-60. ืืฃ ืฉืœื ื”ื™ื” ืžื•ื–ื™ืงืื™, ืœืžื•ื–ื™ืงื” ื•ืกืื•ื ื“ ื‘ืื•ืคืŸ ืจื—ื‘ ื™ื•ืชืจ ื”ื™ื” ืชืคืงื™ื“ ืžืฉืžืขื•ืชื™ ื‘ืกืจื˜ื™ื• ื•ื‘ื”ื•ื•ื™ื” ื”ืชืจื‘ื•ืชื™ืช ืฉื™ืฆืจ ืกื‘ื™ื‘ื•. ืดืฉื™ืจื” ืžืงืจื™ืชืด ืื™ื ื ื” ืžื‘ืงืฉืช ืœื™ื™ืฆื’ ืืช ื”ืขืฉื™ื™ื” ืฉืœ ืžืงืืก ื‘ืชื—ื•ื ื”ืžื•ื–ื™ืงื”, ืืœื ืœื™ื™ืฆืจ ื”ืคื ื™ื ื’ ื“ืจืš ื—ื•ืžืจื™ ืืจื›ื™ื•ืŸ ืฉืœื• ื•ืฉืœ ื™ืฆื™ืจื•ืช ื”ืงืฉื•ืจื•ืช ื‘ื• ื‘ื“ืจืš ื›ื–ื• ืื• ืื—ืจืช, ืงื•ื ืงืจื˜ื™ืช ืื• ืžื“ื•ืžื™ื™ื ืช.

ื ืงื•ื“ืช ื”ืžื•ืฆื ืฉืœ ื”ืคืจื•ื™ืงื˜ ื˜ืžื•ื ื” ื‘ืžืฉืคื˜ ื”ืืœืžื•ืชื™ ืดืื ื—ื ื• ื›ืืŸ ื•ืขื›ืฉื™ื•ืด, ืฉืฉื™ืžืฉ ื’ื ื›ืฉื ืื—ืช ื”ืœื”ืงื•ืช ื‘ื”ืŸ ืฉืจ ื•ื ื™ื’ืŸ ืžืงืืก. ืดืื ื—ื ื• ื›ืืŸ ื•ืขื›ืฉื™ื•ืด ื”ื™ื ื• ืชืžืฆื™ืช ื”ื”ื•ื•ื™ื” ื”ืื•ื•ื ื’ืจื“ื™ืช, ืืฉืจ ื›ื•ื—ื” ื”ืคื•ืื˜ื™ ื˜ืžื•ืŸ ื‘ืชื ื•ืขื” ื”ืžืกื•ื›ื ืช ืงื“ื™ืžื”, ืืœ ื”ื‘ืœืชื™ ืฆืคื•ื™. ืืกืคืงื˜ ืžืฉืžืขื•ืชื™ ืœื ืคื—ื•ืช ื”ื™ื ื• ื”ื”ื•ื•ื™ื” ื”ืงื”ื™ืœืชื™ืช ืฉืžืชื•ื›ื” ื•ื‘ืชื•ื›ื” ืžืงืืก ืคื•ืขืœ, ื•ืืฉืจ ื ื™ื‘ื˜ืช ื‘ื›ืœ ืกืจื˜ื™ื•.

ืฉื™ืจื” ืžืงืจื™ืช ื”ื™ื ื• ืฉื™ืชื•ืฃ ืคืขื•ืœื” ืจืืฉื•ืŸ ื‘ื™ืŸ ื”ืžื›ื•ืŸ ืœืื™ื ืคื•ืจืžืฆื™ื” ืžื•ื–ื™ืงืœื™ืช ืฉืœ ืœื™ื˜ื ื•ื”ืžืจื›ื– ืœืžื•ืกื™ืงื” ื•ืกืคืจื™ื™ื” ืขืดืฉ ืคืœื™ืฆื™ื” ื‘ืœื•ืžื ื˜ืœ, ื”ื ืขืฉื” ื‘ืžืกื’ืจืช ืื™ืจื•ืขื™ ื”ืžืื” ื‘ืชืžื™ื›ืช ืžื›ื•ืŸ ื”ืชืจื‘ื•ืช ื”ืœื™ื˜ืื™. ื‘ืžืกื’ืจืช ื”ืคืจื•ื™ืงื˜ ื ื•ืฆืจ ื’ื ืฉื™ืชื•ืฃ ืคืขื•ืœื” ืขื ื”ืืจื›ื™ื•ืŸ ืฉืœ ื’ืณื•ื ืืก ืžืงืืก, ื•ื‘ืชืžื™ื›ืช ืกื‘ืกื˜ื™ืืŸ ืžืงืืก ื”ืชืงื‘ืœื• ื—ื•ืžืจื™ ืืจื›ื™ื•ืŸ ื ื“ื™ืจื™ื, ื›ื‘ืกื™ืก ืœื™ืฆื™ืจื” ืžื•ื–ื™ืงืœื™ืช ื—ื“ืฉื”. ืขื•ื“ ื—ืฉื•ื‘ ืœืฆื™ื™ืŸ, ื›ื™ ื”ืคืจื•ื™ืงื˜ ืžืชืืคืฉืจ ื”ื•ื“ื•ืช ืœืชืžื™ื›ืช ื”ืžื—ืœืงื” ืœืืžื ื•ื™ื•ืช ืฉืœ ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘ ื™ืคื•.

ืคืกื˜ื™ื‘ืœ “ืฉื™ืจื” ืžืงืจื™ืชืด ื™ืชืงื™ื™ื ื‘ื™ืŸ ื”ืชืืจื™ื›ื™ื 7-9.12 ื•ื™ื›ืœื•ืœ ืฉืœื•ืฉื” ืื™ืจื•ืขื™ื:

ืจื‘ื™ืขื™ 7.12 | ืžืคื’ืฉื™ื ื‘ืืจื›ื™ื•ืŸ – ืงื•ื ืฆืจื˜ ืงืืžืจื™ | ื‘-20:00 ื‘ื‘ื™ืช ืจืื•ื‘ืŸ
*ืžืกืคืจ ื”ืžืงื•ืžื•ืช ืžื•ื’ื‘ืœ. ื”ื›ื ื™ืกื” ื‘ื”ืจืฉืžื” ืžืจืืฉ> bit.ly/3U3ak9k

ื—ืžื™ืฉื™ 8.12 | ืคืกืงื•ืœ ื–ืžื ื™ – ืื™ืจื•ืข ืžื•ื–ื™ืงืœื™ ื‘ื™ืŸ-ืชื—ื•ืžื™ | ืž-18:30 ื‘ื‘ื™ืช ืœื™ื‘ืœื™ื ื’

ืฉื™ืฉื™ 9.12 | ืžื›ื•ื ื•ืช ืืžื ื•ืช – ืœื—ืฉื•ื‘ ืขื ื’ืณื•ื ืก ืžืงืืก – ื™ื•ื ืขื™ื•ืŸ | ืž-10:00 ื‘ื‘ื™ืช ืœื™ื‘ืœื™ื ื’
*ืžืกืคืจ ื”ืžืงื•ืžื•ืช ืžื•ื’ื‘ืœ. ื”ื›ื ื™ืกื” ื‘ื”ืจืฉืžื” ืžืจืืฉ> bit.ly/3gxOxZS

~ื”ื›ื ื™ืกื” ืœื›ืœ ื”ืื™ืจื•ืขื™ื ืœืœื ืชืฉืœื•ื~

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ืจื‘ื™ืขื™ 7/12
ืžืคื’ืฉื™ื ื‘ืืจื›ื™ื•ืŸ – ืงื•ื ืฆืจื˜ ืงืืžืจื™ – 20:00 ื‘ื‘ื™ืช ืจืื•ื‘ืŸ

ืžื‘ื—ืจ ื™ืฆื™ืจื•ืช, ืงืœืืกื™ื•ืช ื•ืขื›ืฉื•ื•ื™ื•ืช, ืฉื ื‘ื—ืจื• ื‘ื”ืฉืจืืช ื’ืณื•ื ืืก ืžืงืืก ืžืชื•ืš ืฉื ื™ ื”ืืจื›ื™ื•ื ื™ื – ืฉืœ ื”ืžื›ื•ืŸ ืœืื™ื ืคื•ืจืžืฆื™ื” ืžื•ื–ื™ืงืœื™ืช ืฉืœ ืœื™ื˜ื ื•ื”ืžืจื›ื– ืœืžื•ืกื™ืงื” ื•ืกืคืจื™ื™ื” ืขืดืฉ ืคืœื™ืฆื™ื” ื‘ืœื•ืžื ื˜ืœ.

ื”ืคืกื ืชืจื ื™ืช ืžืจืชื” ืคื™ื ืงืœืฉื˜ื™ื™ืŸ (ืœื™ื˜ื), ืชืฆื™ื’ ืžื‘ื—ืจ ื™ืฆื™ืจื•ืช ืœื™ื˜ืื™ื•ืช ืงืœืืกื™ื•ืช ื•ืขื›ืฉื•ื•ื™ื•ืช – ืžื”ืžืœื—ื™ืŸ ื•ื”ืฆื™ื™ืจ ืžื™ืงื•ึนืœึทืื™ื•ึผืก ืงื•ึนื ืกื˜ึทื ื˜ื™ื ึทืก ืฆึฐ’ื™ื•ึผืจืœึดื™ื•ึนื ื™ืก (1875-1911) ื•ืขื“ ืžืœื—ื™ื ื™ื ืฆืขื™ืจื™ื. ืœืกื™ื•ื, ื”ื›ื ืจืช ื™ืขืœ ื‘ืจื•ืœืกืงื™ ื•ื”ืคืกื ืชืจื ื™ืช ืขืคืจื” ื™ืฆื—ืงื™ ื™ื‘ืฆืขื• ืืช ื”ื•ืจื” ืœื›ื™ื ื•ืจ ื•ืคืกื ืชืจ (1936) ืฉืœ ื•ืจื“ื™ื ื” ืฉืœื•ื ืกืงื™ (1905-1990), ื”ื’ื‘ืจืช ื”ืจืืฉื•ื ื” ืฉืœ ื”ืžื•ื–ื™ืงื” ื”ื™ืฉืจืืœื™ืช. ื”ื™ืฆื™ืจื” ืžื•ืฉืคืขืช ืžืจื™ืงื•ื“ ื”ื”ื•ืจื” ื”ืžืกื•ืจืชื™ ืขืœ ืžืงืฆื‘ื™ื• ื”ื ื•ืงื‘ื™ื ื•ืื•ื•ื™ืจืชื• ืžืœืืช ื”ื—ื™ื™ื.

ืชื›ื ื™ืช ื”ื™ืฆื™ืจื•ืช ืœืงื•ื ืฆืจื˜:

1. – ืžื‘ืฆืขืช: ืžืจืชื” ืคื™ื ืงืœืฉื˜ื™ื™ืŸ (ืคืกื ืชืจ)
– Julius Aglinskas – 3 pieces
– ลฝibuoklฤ— Martinaitytฤ— – Togetherness (2009)
– Julius Andrejevas – Fate (2018)
– M.K. ฤŒiurlionis – Allegro. Prelude from Little Sonata (1905)
– M.K. ฤŒiurlionis – Oh, Forest, Forest (I, II, III) (1906)
– Anatolijus ล enderovas – M. K. ฤŒiurlionis’ Sketches: Vignette for a Folk Song, Amber Palace, Angel (1994)
– Dominykas Digimas – As It Came Into My Little Attic (2019)

2. ืžื‘ืฆืขื•ืช: ื™ืขืœ ื‘ืจื•ืœืกืงื™ (ื›ื™ื ื•ืจ) ื•ืขืคืจื” ื™ืฆื—ืงื™ (ืคืกื ืชืจ) –
– ื•ืจื“ื™ื ื” ืฉืœื•ื ืกืงื™ – ืดื”ื•ืจื”ืด ืœื›ื™ื ื•ืจ ื•ืคืกื ืชืจ

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ื—ืžื™ืฉื™ ื”-8/12
ืคืกืงื•ืœ ื–ืžื ื™ – ืื™ืจื•ืข ืžื•ื–ื™ืงืœื™ ื‘ื™ืŸ-ืชื—ื•ืžื™ – ืž-18:30 ื‘ื‘ื™ืช ืœื™ื‘ืœื™ื ื’

ืคืกืงื•ืœ ื–ืžื ื™ ื”ื™ื ื• ื”ืคื ื™ื ื’ ืื•ื“ื™ื•-ื•ื™ื–ื•ืืœื™, ื”ื—ื•ื’ื’ ืืช ื—ื•ืžืจื™ ื”ืืจื›ื™ื•ืŸ ื”ืžืฆื•ืœืžื™ื ืฉืœ ื’ืณื•ื ืืก ืžืงืืก. ื‘ื ื“ื™ื‘ื•ืช Jonas Mekas Estate ืงื™ื‘ืœื ื• ืœื™ื“ื™ื ื• ืชืฉืข ืงืœื˜ื•ืช ื•ื™ื“ืื• ืฉืฆื™ืœื ืžืงืืก ื‘ืชืงื•ืคืชื• ื”ืžืื•ื—ืจืช. ื™ื•ืฆืจื™ื ื•ื™ื•ืฆืจื•ืช ื™ืฉืจืืœื™ื™ื, ื‘ืขืœื™ ื–ื™ืงื” ืœืขื•ืœื ื”ืžื•ื–ื™ืงื” ืื• ื”ืกืื•ื ื“, ื”ื•ื–ืžื ื• ืœื”ื’ื™ื‘ ืœื—ื•ืžืจื™ื ืืœื•.

ื”ืฉืืœื” ื”ืื•ืฆืจื•ืชื™ืช ืฉืคืกืงื•ืœ ื–ืžื ื™ ืžื‘ืงืฉ ืœื”ืขืœื•ืช, ื˜ืžื•ื ื” ื‘ืืจืขื™ื•ืช ื”ืงืฉืจ ื‘ื™ืŸ ืฆืœื™ืœ ืœืชืžื•ื ื”, ื•ื‘ืฆื•ืจืš ื”ืคืจืคื•ืจืžื˜ื™ื‘ื™ ื”ื ื•ืฆืจ ื›ืชื•ืฆืื” ืžื”ื—ื™ื‘ื•ืจ ื”ืœื ื˜ื‘ืขื™ ื”ื–ื”. ืืจืขื™ื•ืช ื”ื™ื—ืกื™ื ืฉื™ืžืฉื” ืืช ืžืงืืก ื›ืืžืฆืขื™ ืคื•ืื˜ื™ ืžืฉืžืขื•ืชื™ ื‘ืจื‘ื™ื ืžืกืจื˜ื™ื•, ื‘ื•ื•ื“ืื™ ื‘ืžืกื’ืจืช ื™ื•ืžื ื™ื• ืืฉืจ ืฆื•ืœืžื• ื‘ืžืงื•ืจ ืœืœื ืกืื•ื ื“. ื“ื‘ืจ ืื—ืจ ืฉืคืกืงื•ืœ ื–ืžื ื™ ืžื‘ืงืฉ ืœื”ืคื ื•ืช ืืช ืชืฉื•ืžืช ื”ืœื‘ ืืœื™ื•, ืงืฉื•ืจ ื‘ืžื”ืœืš ื”ืงื”ื™ืœืชื™ ืฉืœ ื”ืงื•ืœื ื•ืข ืฉืœ ืžืงืืก, ืืฉืจ ืžืฆื“ ืื—ื“ ืื™ื ื ื• ืชื™ืขื•ื“ื™ ื•ืฆื“ ืื—ืจ ืขืกื•ืง ื›ืžืขื˜ ื›ื•ืœื• ื‘ื”ืชื‘ื•ื ื ื•ืช ื”ื—ื•ืฆื” ืืœ ืขื‘ืจ ืกื‘ื™ื‘ืชื• ื”ืงืจื•ื‘ื”, ืืœ ื”ื™ื•ืžื™ื•ื, ื•ืืœ ื”ื—ื’ื™ื’ื™ ืฉื‘ื—ื™ื™ื. ื™ื•ืฆื ืžื›ืš, ืฉื™ื™ื—ื•ื“ ื”ืžื‘ืข ื”ืงื•ืœื ื•ืขื™ ืฉืœ ืžืงืืก ื”ื™ื ื• ืชืžื™ื“ ื ืžืฆื ื‘ื™ื—ืก ืœืขืฉื™ื™ื” ืื—ืจืช, ื‘ืžืงืจื™ื ืจื‘ื™ื ืฉืœ ืืžื ื™ื ื•ืืžื ื™ื•ืช ืื—ืจื™ื, ืื• ืฉืœ ืคืขื•ืœื•ืช ื”ื™ื•ืžื™ื•ื ืฉื ืขืฉื•ืช ื‘ื™ื“ื™ ืื—ืจื™ื. ืžืชื•ื›ืŸ ืžืงืืก ืžื–ืงืง ืื™ื›ื•ืช ืœื™ืจื™ืช ืืฉืจ ื‘ืื•ืคืŸ ืžื•ื‘ื”ืง ืžืืคื™ื™ื ืช ืื•ืชื•. ืคืกืงื•ืœ ื–ืžื ื™, ืžื‘ืกืก ืžื”ืœืš ื“ื•ืžื” ืžื”ื›ื™ื•ื•ืŸ ื”ื”ืคื•ืš, ื›ืขืช ืžืงืืก ืขืฆืžื• ื”ื•ื ื”ืžื•ืฉื ืœื”ืชื‘ื•ื ื ื•ืช ื•ืคืขื ื•ื— ืฉืœ ื™ื•ืฆืจื™ื ื•ื™ื•ืฆืจื•ืช ืื—ืจื™ื.

:ืœื•ืดื– ื”ื•ืคืขื•ืช

18:30
ืงื•ืžืช ื›ื ื™ืกื”, ื’ืœืจื™ื”
ืจืคื™ ื‘ืœื‘ื™ืจืกืงื™
ื’ื™ื˜ืจืช ื•ื™ื“ืื• – ื ื’ื™ื ื” ื—ื™ื” ืฉืœ ื’ื™ื˜ืจื” ืฉืžืคืขื™ืœื” ื•ืžืฉื ื” ื“ื’ื™ืžื•ืช ื•ื™ื“ืื• ื›ืš ืฉืจื™ืคื™ื ื•ืืงื•ืจื“ื™ื ืฉืœ ื’ื™ื˜ืจื” ื”ื•ืคื›ื™ื ืœืจืฆืคื™ื ื•ืฉื›ื‘ื•ืช ืื•ืจ-ืงื•ืœื™ื™ื.

19:00
ืงื•ืžื” 2, ืกืœื•ืŸ
ืœืจื™ ืžืชื—ื” – The Personal Trap
ื”ืชื—ืงื•ืช ืื—ืจ ื”ืžื•ื–ืจ, ื”ืžื•ื›ืจ ื•ื”ืžื ื•ื›ืจ ื“ืจืš ื—ื•ืžืจื™ ื”ื•ื™ื“ืื• ืฉืœ ืžืงืืก. ืฉื™ื˜ื•ื˜ ืขืœ ื”ื˜ื•ื•ื— ืฉื‘ื™ืŸ ืคืจืคื•ืจืžื ืก ืœื”ืจืฆืื”.

19:30
ืงื•ืžืช ื›ื ื™ืกื”, ืกื˜ื•ื“ื™ื•
ื—ื’ื™ ืื™ื–ื ื‘ืจื’ – ื”ืชืขืจื‘ื•ืช ืคืจืคื•ืจืžื˜ื™ื‘ื™ืช ื‘ืžื™ืฆื‘ ืฉื‘ืจื™ื

20:00
ืงื•ืžื” -1, ื ื’ืจื™ื”
ืื•ืจ ืกื™ื ื™ – ืžื‘ืขื“
ืื™ืคื” ืฉื”ืžื™ืœื™ื ื ื’ืžืจื•ืช, ืฆืœื™ืœื™ื ืื—ืจื™ื ื‘ื•ืงืขื™ื – ื”ื—ื™ื›ื•ืš ื‘ื™ืŸ ืคื•ืจื˜ืจื˜ื™ื ืžื•ืงืœื˜ื™ื ืžื”ื•ื•ื” ืžืฆืข ืœื ื’ื™ื ื” ื”ืžืชืคืฆืœืช ื‘ืขืฆืžื”, ื‘ื’ื•ืฃ ืฉืœ ื”ืงื•ื ื˜ืจื‘ืก, ื‘ื—ืœืœ ื”ืžืจืชืฃ, ื‘ืื™ื•ื•ืฉืช ื”ื“ื‘ืจื™ื.

20:15
ืงื•ืžื” 2, ืกืœื•ืŸ
ื”ื“ื•ืดื— ืฉืœ ื™ื•ื ืชืŸ ื’ื™ืจื•ืŸ ื•ืื•ืจื™ ื–ื ื“ื‘ื ืง
ื•ื™ื“ื™ืื•-ืคืจืคื•ืจืžื ืก – ื“ืจืš ืกื“ืจื” ืฉืœ ืžื—ืฉื‘ื•ืช ืจืขืฉื™ื ื•ืชื ื•ืขื•ืช ื™ื•ื-ื™ื•ื, ื ื•ืฆืจืช ืขืœื™ืœื” ืืกื•ืฆื™ืื˜ื™ื‘ื™ืช, ืฉืชืจื—ืฃ ืžืขืœ ื•ื‘ืชื•ืš ื™ืฆื™ืจืชื• ืฉืœ ืžืงืืก.

20:30
ืงื•ืžื” -1, ื ื’ืจื™ื”
ื“ื•ื“ ืื•ืคื ื”ื™ื™ื – Jonas Mekas Looped
ืื™ืœืชื•ืจ ืขื ืคืจื’ืžื ื˜ื™ื ืื•ื“ื™ื•-ื•ื™ื–ื•ืืœื™ื™ื ืฉื™ื™ื‘ื—ืจื• ื‘ื–ืžืŸ ืืžืช, ื™ื—ืชื›ื•, ื™ื”ืคื›ื• ืœืœื•ืคื™ื, ื™ืขืจืžื• ื‘ืฉื›ื‘ื•ืช, ื‘ื”ืฉืืœื” ืžื ื’ื™ื ื” ื‘ื›ืœื™ ืžื•ื–ื™ืงืœื™.

21:00
ืงื•ืžืช ื›ื ื™ืกื”, ื’ืœืจื™ื”
ืขื“ื™ื” ื’ื•ื“ืœื‘ืกืงื™ ื•ื—ื’ื™ ืคืจืฉื˜ืžืŸ – ืžื•ืžื ื˜ื•ื ืคื ื˜ื–ืžื˜ื™ ืฉืœ ืงื™ื“ื•ื ื”ืคืขื•ืœื”
ื“ื™ืืœื•ื’/ืชื’ื•ื‘ื” ืžื•ื–ื™ืงืœื™ืช ืœื˜ืงืกื˜ ื”ื•ื™ื–ื•ืืœื™ ื“ืจืš ืฉืœื•ืฉื” ืžื•ืžื ื˜ื•ืžื™ื ืคื ื˜ื–ืžื˜ื™ื: (Aria) ื”ืคื•ืœื—ืŸ, ื”ืคื•ืื˜ื™ ื•ืฉื™ืžื” ื‘ืกื•ื’ืจื™ื™ื; (Recitative) ื”ืžืฆื™ืื•ืช ื‘ืคืขื•ืœื”, ืงื™ื“ื•ื ื”ืืžืฆืขื™ื ื•ืฆืžืฆื•ื ื”ืžื‘ื˜ ื”ืžืชื‘ื•ื ืŸ; (Liminal) ื”ืžืขื‘ืจื™ื ื‘ืžืกื“ืจื•ืŸ ื‘ื™ืŸ ื”ืขื•ืฆืจ ื•ืžืชื‘ื•ื ืŸ ืœื‘ื™ืŸ ื”ื ืข ืชื“ื™ืจ ื”ืžื ื™ืข ืืช ื”ืžืชื‘ื•ื ืŸ/ืžืื–ื™ืŸ.

21:30
ืงื•ืžืช ื›ื ื™ืกื”, ื’ืœืจื™ื”
ืฉืจื•ืŸ ืงื ื˜ื•ืจ ื•ืืจื™ืืœ ืงืœื™ื™ื ืจ
ื“ื•ืื˜ ืžืื•ืœืชืจ ืœื•ื™ื“ืื•, ืฉืชื™ ื’ื™ื˜ืจื•ืช ื•ืงื•ืœ – ืงื˜ืขื™ ื”ื•ื™ื“ืื• ืžื‘ื•ืชืจื™ื ืœื™ื—ื™ื“ื•ืช ืฉืžื”ื•ื•ืช ื›ืœื™ ืžื•ืกื™ืงืœื™ ื—ื•ืคืฉื™, ื‘ื“ื™ืืœื•ื’ ืฉื ื•ืฆืจ ื–ืžืŸ ืžืช ื ืืจื’ ื‘ื–ืžืŸ ื—ื™.

22:00
ืงื•ืžื” 2, ืกืœื•ืŸ
ื ืžืจื•ื“ ื’ืจืฉื•ื ื™ – Heaven & Earth Cafe
ืคืจืคื•ืจืžื ืก ื”ื ื’ืืื•ื˜ – ื”ืงื”ืœ ืžื•ื–ืžืŸ ืœื”ืชืจื•ื•ื— ื‘ืกืœื•ืŸ ืื ืœื•ื’ื™.

ืขื‘ื•ื“ื•ืช ืžืฉืš ืืฉืจ ื™ื•ืฆื’ื• ืœืื•ืจืš ื›ืœ ื”ืื™ืจื•ืข –

ืงื•ืžื” 1, ื—ื“ืจื™ ืžื—ืงืจ
ืืกื™ ืชื’ืณืจ
ืžืกืข ื‘ื™ืŸ ื–ืžื ื™ื – ืžื•ื™ื“ืื• ืœืคื™ืœื ื“ืจืš ืžืฆืœืžืช ื‘ื•ืœืงืก.

ืงื•ืžื” 1, ื—ืœื•ืŸ ืžื–ื›ื™ืจื•ืช
Archival Peaks
ื”ืงืจื ื” ืฉืœ ืœืงื˜ ืžื—ื•ืžืจื™ ืืจื›ื™ื•ืŸ.

ืงื•ืžื” 2, ืืžื‘ื˜ื™ื”
ื’ื™ื ืคืœื™ื™ืฉืจ ื•ื ื˜ืข ืœื™ ืคืœื“ืกืžืŸ – ืžืงืืกื™ื ืชืณ
ื—ื•ืžืจื™ ื”ืืจื›ื™ื•ืŸ ื”ื•ืคื›ื™ื ืœื—ื•ืžืจ ื’ืœื ืขื‘ื•ืจ ืชื•ื›ื ื” ืฉืžืคื™ืงื” ืกืื•ื ื“ ื™ืฉื™ืจื•ืช ืžืžื™ื“ืข ื”ื ืžืฆื ื‘ืคื™ืงืกืœื™ื ื•ื‘ื›ืš ืžืขื ื™ืงื” ืกืื•ื ื“ ืœื—ื•ืžืจ ื”ื“ื™ืžื•ื™ื™. ื›ืฉื ืฉื”ืžืฆืœืžื” ื”ื™ืชื” ืื™ื‘ืจ ื ื•ืกืฃ ื‘ื’ื•ืคื• ืฉืœ ืžืงืืก ื”ื ืขื” ืื™ืชื• ืœื›ืœ ืžืงื•ื, ืคืœื™ื™ืฉืจ ื•ืคืœื“ืกืžืŸ ื‘ื•ื—ืจื™ื ืœื”ืฉืชืžืฉ ื‘ืคืจืžื˜ืจ ืฉืœ ืชื ื•ืขื” ื‘ืคืจื™ื™ื ื›ืืœืžื ื˜ ื”ืžืฉืคื™ืข ืขืœ ืคืจืžื˜ืจื™ื ื‘ืกืื•ื ื“.

ืงื•ืžื” 2, ืžื˜ื‘ื—
ืœื™ ื ื‘ื• – ื”ืคื•ืจื ื•ื’ืจืฃ – ืณืจื™ื›ื˜ืจ ืžื•ืŸ ืืžื•ืจืณ (ื’ืจืกืช ื”ืžื™ืชื•ืก)
ืžื›ื•ื ืช ืจืขืฉ ืฉื”ื™ื ื—ื™ื‘ื•ืจ ื‘ื™ืŸ ืกื™ืกืžื•ื’ืจืฃ, ืคื•ื ื•ื’ืจืฃ ื•ืžื›ื•ื ืช ืงืขืงื•ืขื™ื. ื’ืจืกื” ืžื™ื•ื—ื“ืช ืฉื ืขืฉืชื” ื‘ืžื—ื•ื•ื” ืœื’ืณื•ื ืืก ืžืงืืก. ื—ื™ื™ืฉืŸ ื”ืžื•ื“ื‘ืง ืืœ ื”ืฆื’ ืžืชืจื’ื ืืช ื”ืจืฉืžื™ื ื”ืžื•ืงืจื ื™ื ืœืจืขื™ื“ื•ืช, ื•ืžืขื‘ื™ืจ ืืช ื”ืžื™ื“ืข ืœื–ืจื•ืข ืขื ืžื—ื˜ ืฉื—ื•ืจื˜ืช ืขืœ ืคื—ื™ืช ื‘ื™ืจื” ‘ืžื™ืชื•ืก’ ืžืกืชื•ื‘ื‘ืช.
ืขืจื™ื›ื”: ื’’ืื“ ืžืจืฉื ื“ื•

ืงื•ืžืช ื›ื ื™ืกื”, ืกื˜ื•ื“ื™ื•
ื—ื’ื™ ืื™ื–ื ื‘ืจื’ – ืฉื‘ืจื™ื
ืžื™ืฆื‘
ื ื™ืชื•ืง ื”ืชืžื•ื ื” ืžื”ืกืื•ื ื“, ื•ื”ืกืื•ื ื“ ืžื”ืชืžื•ื ื”, ืžืืคืฉืจ ื™ืฆื™ืจื” ืฉืœ ื™ื—ืกื™ื ื—ื“ืฉื™ื ืžืชื•ื›ื ืงื•ืžืคื•ื–ื™ืฆื™ื” ื—ื“ืฉื” ื ื•ืฆืจืช.

*
ืฉื™ืฉื™ ื”-9/12
ืžื›ื•ื ื•ืช ืืžื ื•ืช: ืœื—ืฉื•ื‘ ืขื ื’ืณื•ื ืืก ืžืงืืก –
ื”ื—ืœ ืž-10:00 ื‘ื‘ื™ืช ืœื™ื‘ืœื™ื ื’

ื‘ื•ืงืจ ืฉืœ ืฉื™ื—ื•ืช ื•ืกื“ื ืช ื”ืœื™ื›ื” ืื—ืช ื‘ืขืงื‘ื•ืช ื”ืคืจืงื˜ื™ืงื” ื”ืืžื ื•ืชื™ืช ืฉืœ ื’ืณื•ื ืืก ืžืงืืก, ืขื ืืžื ื™ื ื ื‘ื—ืจื™ื ืžืชื•ืš ืžืฉืชืชืคื™ ื”ืคืกื˜ื™ื‘ืœ.

10:15 ืฉื™ื—ื” ื‘ื™ืŸ ืจื“ื•ื•ื™ืœื” ื‘ื•ื™ื™ื“ื™ื’ื™ื™ื ื” (ื”ืžื›ื•ืŸ ืœืื™ื ืคื•ืจืžืฆื™ื” ืžื•ื–ื™ืงืœื™ืช ืฉืœ ืœื™ื˜ื) ื•ื”ืžืœื—ื™ืŸ ื“ื•ืžื™ื ื™ืงืืก ื“ื™ื’ื™ืžืืก (ืœื™ื˜ื)
10:45 ืฉืืœื•ืช ื•ืชืฉื•ื‘ื•ืช
11:00 ื”ืคืกืงื”
11:15 ืืกืฃ ืชื’ืณืจ – ืขืœ ืชื”ืœื™ืš ื”ื™ืฆื™ืจื” ืฉืœ Reverse to Film
12:00 ื”ืคืกืงื”
12:45 ืดืกื“ื ื”ืœื™ื›ื”ืด ืขื ื”ืžืœื—ื™ืŸ ื“ื•ืžื™ื ื™ืงืก ื“ื™ื’ื™ืžืืก – ืžื‘ื™ืช ืœื™ื‘ืœื™ื ื’ ืืœ ื—ื•ืฃ ื”ื™ื

*

ื”ืื™ืจื•ืข ืžืชืงื™ื™ื ื‘ืฉื™ืชื•ืฃ ืขื: Lithuanian Culture Institute โ€“ LCI, Music Information Centre Lithuania, Jonas Mekas Estate, ื”ืžื—ืœืงื” ืœืืžื ื•ื™ื•ืช ืฉืœ ืขื™ืจื™ื™ืช ืชืœ ืื‘ื™ื‘, ื‘ื™ืช ืœื™ื‘ืœื™ื ื’, ื‘ื™ืช ืจืื•ื‘ืŸ, ืกื•ื›ื ื•ืช ืจืขืฉ ื•ืžื•ื–ื™ืื•ืŸ ื‘ื™ืช ื”ืขื™ืจ.

ืชื•ื“ื•ืช: Sebastian Mekas, Elena Keidoลกiลซtฤ—, ืื•ืจ ืจื™ืžืจ, ืžื•ืจืŸ ื ื‘ื•ืŸ ื•ืขื ืช ืœื•ื™.

ื ื™ื”ื•ืœ ืืžื ื•ืชื™: ื’ื™ื ื“ื•ื‘ื™ื•ืก ื•-Radvilฤ— Buivydienฤ—
ืื•ืฆืจืช ืฉื•ืชืคื” ื•ืžืคื™ืงื”: ื™ืคืขืช ื–ื™ื•
ืžื ื”ืœ ื˜ื›ื ื™: ืื™ื™ืœ (ืœืœื™) ื‘ื™ื˜ื•ืŸ
ืขื™ืฆื•ื‘ ื’ืจืคื™: ื™ื•ืื‘ ื•ื™ื ืคืœื“

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