Neringa Černiauskaitė

I’m pleased to announce Neringa Černiauskaitė as an addition to our team of writers covering the contemporary visual arts of Northern Europe and Far Northern latitudes. Neringa, who may already be known to many of our readers for her contributions to Artforum, Flash Art, Parkett, ARTMargins.com, MAP, and Mousse magazine, will serve as Contributing Editor (Lithuania). She is also the forward-looking Editor in Chief of artnews.lt, and is an M.A. graduate, 2014, of Bard College Center for Curatorial Studies, NY.

Based in Vilnius and Berlin, as an artist Neringa is one half of the collaborative duo Pakui Hardware. Working with Ugnius Gelguda, Neringa’s output as a collaborative artist probably requires little introduction in the wider European sphere. In 2014, Pakui Hardware were recipients of the Iaspis Art Grant, The Swedish Arts Grants, Sweden, and in 2013, Nominee for the Henkel Art Award, Vienna. In fact, there is a backstory to the Vienna connection in that I have known of Neringa’s art criticism since 2007 when I was first introduced to her writing by Laura Rutkutė of Lithuania’s Galerija Vartai at the Vienna Art Fair of that year, and was greatly impressed by it.

The addition of Neringa Černiauskaitė to Art North’s team of Contributing Editors assists in the magazine better representing the Baltic region generally, therefore, and in particular, the vibrant contemporary art community of Lithuania. Her interest in contributing to Art North also signals to artists throughout Northern Europe, and especially to the east, that Art North has started as it means to go on – that is, as a visual arts magazine that views Scotland’s ‘northern neighbours’ not only in terms of geographical proximity, but in terms of a wider theoretical and/or aesthetic proximity and commonality, also.

Pakui Hardware : Ugnius Gelguda & Neringa Černiauskaitė

Pakui Hardware: Ugnius Gelguda & Neringa Černiauskaitė

Whatever may be occurring currently with regard to the UK’s place in Europe, Art North’s position on the visual arts of Scotland remains resolutely ‘European’ in outlook, steadfastly ‘independent’ in terms of the future for the the arts of the North, and defiant in our attempt to forge links across the wider Northern Territories beyond (most latterly to parts of Northern Canada, which I hope to announce soon, too). Now, more than ever, is a time to seize the moment, maintaining friendships and linkages where they exist, and cultivating new ones where they may not. As critic Mel Gooding, Art North’s Contributing Editor (London), has written: “Every point on the periphery is the centre of another circle, not in terms of geography but topographies of the mind.”