Theory of Plankton
“Do you know what the paradox of the plankton is? In aquatic biology, the paradox of the plankton describes the situation in which a limited range of resources supports an unexpectedly wide range of plankton species, apparently flouting the competitive exclusion principle, which holds that when two species compete for the same resource, one will be driven to extinction.
Similarly, our project is driven not by a single concept but by various interests, some of them also coming from the Baltic-Scandinavian region.”
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Klimašauskas is letters, but also a curator and writer interested in the robotics of belles-lettres and the uneven distribution of the future and sharing.
His recent texts include “On the importance of curating from the perspective of a bacteria, living fossil or Neanderthal” and a reading of “How to Clone a Mammoth (in Three Voices and with a Fisherman’s Exaggeration)” at the XII Baltic Triennial at the Contemporary Art Centre (CAC), Vilnius. His book “B” published in 2014 by Torpedo Press, Oslo, contains written exhibitions that float in time and space with or within a joke, one’s mind, Voyager 1, Chauvet Cave or inside the novel “2666” by Roberto Bolaño. Valentinas lives and works from Inkūnai, Lithuania.
Gailė Pranckūnaitė is a Vilnius-based graphic designer. She graduated from the Gerrit Rietveld Academy, Amsterdam in 2013. Her practice focuses on printed matter and web-based projects, combining graphic design with an editorial touch, experimental typography and sound.
Since 2015 she has been part of a collaborative research unit (with Mislav Žugaj) “Sprawl” – named after a term used in William Gibson’s science fiction trilogy describing both a vast, spreading urban area and the expanding cyberspace. The term encompasses perfectly the collaborative´s interest in science fiction as a tool for enquiry, as well as the primary tool used for that enquiry: the internet. “Sprawl” seeks to translate this uneven pattern of growth of cyber and urban expansion into a visual, literary and social artistic methodology.
Karl Larsson is a Swedish poet and artist living in Malmö. His work is developed within the margins of writing and language, poetry and installation and has had solo exhibitions in venues such as Hamburger Kunstverein (2014) Castillo/Corrales (2013), Signal, Malmö (2012), CAC, Vilnius (2011), Index, Stockholm, and Neuer Aachener Kunstverein, Aachen, DE (2010). He participated in numerous group exhibitions that include Grazer Kunstverein, Graz, CAC Vilnius, Frutta, Rome, NGBK, Berlin, and Parra/Romero, Madrid (2012), HIAP, Helsinki, and 6th Momentum Biennial, Moss (2011), Passerelle FAC, Brest, FR, Modernautställningen, Moderna Museet, Stockholm and Ystad Konstmuseum, Ystad (2010).
Larsson has also been working editorially in contexts such as OEI, Magazine for new poetry and Audiatur, festival for new poetry. His publications include Form/ Force, Walter König Verlag DE and Black Square Editions US, 2015; Poetical Assumption, Torpedo JVE, NO/NL, 2012; Consensus (The Room), Paraguay Press, FR, 2012; Parrot, Paraguay Press, FR, 2010. His first monograph Strange was published by Mousse Publishing, Milan in 2015.