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	<title>Brigita Kasperaitė</title>
	<link>https://brigitakasperaite.com</link>
	<description>Brigita Kasperaitė</description>
	<pubDate>Tue, 24 Feb 2026 13:04:59 +0000</pubDate>
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		<title>Index</title>
				
		<link>https://brigitakasperaite.com/Index</link>

		<pubDate>Tue, 14 Oct 2025 09:08:16 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

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		<title>omg! Oh my Goddess!</title>
				
		<link>https://brigitakasperaite.com/omg-Oh-my-Goddess</link>

		<pubDate>Tue, 14 Oct 2025 09:08:21 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

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		<description>
	omg! Oh my Goddess!
	Exhibition that explores alternative ways of living and organizing society, drawing on prehistoric cosmologies, symbolic systems, and material technologies to imagine other social structures possible in the contemporary world. Engaging with the framework of archaeomythology, her work bridges Neolithic goddess cultures and contemporary technological landscapes - where silicon stones, serpent motifs, and speculative reconstruction become tools for rethinking value, power, and relationality. Through this lens, she reconsiders how the symbolic and the sensual might guide us in shaping not only images and objects, but also ways of being together.

At the core of the exhibition is a series of 3D-printed goddess figures, modeled from the archaeological drawings found in Marija Gimbutas’ book Die Sprache der Göttin (The Language of the Goddess). These Neolithic figurines - symbols of fertility and birth, power, renewal, and death - are often only available to us in flattened, front-facing depictions. In digitally reconstructing their bodies, the artist not only gives them dimensional presence but invites us to reflect on the politics of image-making - on how history is imagined as much as it is recovered, and how myths become bodies again.

Through these Neolithic findings, the artist reflects on the stone landscapes that cover most of the Earth, and from there turns to the silicone stone - a lab-grown crystal made from purified quartz, used as a semiconductor in the production of chips, computers, and complex electronics. Invisible yet everywhere it becomes not just a technological component, but a symbolic agent in shaping our contemporary and future landscapes.



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		<title>Common Matter</title>
				
		<link>https://brigitakasperaite.com/Common-Matter</link>

		<pubDate>Tue, 14 Oct 2025 09:08:18 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/Common-Matter</guid>

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	Common Matter
	












This exhibition presents objects from a future we are only beginning to imagine. They are made of GEOBRIS - a material composed of mealworm frass and bio-based plastic. Raw and earthy, fleetingly malleable, then hard and vulnerable.

While the abstract shapes travel throughout the space creating otherworldly experience, by smell, light and different states of GEOBRIS material, the exhibition emphasis is a process of sensing, testing, and questioning - of new ways of working, new modes of coexistence, and material as a collaborator.

What becomes visible here is the condensation of a week of collective work, in which artists, researchers, machines, and materials entered into relation. A process of sensing, testing, and questioning – of new ways of working, new modes of coexistence, and material as a collaborator.

Through engaging with GEOBRIS, both technical and bodily experiences were gathered, disciplinary boundaries blurred, and new approaches to shaping and making were explored. The space became a platform for collective transformation: between past and future, nature and industry, action and consequence.
The forms on display are traces – of heat, hand, and intention. Fragments of a process that remains unfinished.
The exhibition is a result of collaborative process together with Yana Zschiedrich, Taisiia Kravchenko, Olena Melnyk and Corinna Marie Wolff, where for one week at MERG which is part of TU Chemnitz , we were collaboratively experimenting with a new material called GEOBRIS that Yana Zschiedrich is developing. Geobris is a material composed of mealworm frass and bio-based plastic.




Photos by&#38;nbsp;Fabian Thüroff


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		<title>landscapes</title>
				
		<link>https://brigitakasperaite.com/landscapes</link>

		<pubDate>Tue, 24 Feb 2026 13:04:59 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/landscapes</guid>

		<description>
	landscapessteel, glass, electricity, silicone stone, argon gas, 2025
	













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</description>
		
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	<item>
		<title>Oh My Goddess</title>
				
		<link>https://brigitakasperaite.com/Oh-My-Goddess</link>

		<pubDate>Sat, 21 Feb 2026 19:24:38 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/Oh-My-Goddess</guid>

		<description>
	Oh My Goddess
2025
	
















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</description>
		
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	<item>
		<title>Mother Tongue</title>
				
		<link>https://brigitakasperaite.com/Mother-Tongue</link>

		<pubDate>Tue, 14 Oct 2025 09:08:17 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/Mother-Tongue</guid>

		<description>
	Mother Tongue
video 9,41", 2025
	Mother Tongue is a poetic and speculative video workthat opens with the threshold of a solar eclipse - a brief moment where light and darkness fold into one another, marking a point of cosmological transformation. From this liminal space, serpent-like tongues emerge to lick the burning surface of the sun. Their gestures are erotic, futile, and ritualistic all at once - an intimate choreography directed at an overwhelming celestial force.
The tongues carry multiple meanings: they are sensorial organs, tools of language, and mythic figures. Their movements suggest both care and desperation, invoking a kind of ancient ritual whose purpose remains unclear. Are they soothing the sun or stoking its fire? As they spiral and converge, a shared, sensual language begins to form - not built on words, but on touch, rhythm, and desire. This mother tongue is a language of becoming, one that precedes logic and transcends control.
The work draws from Neolithic symbolism, particularly serpent motifs and solar cycles associated with earth-based, matriarchal cosmologies. Yet its gaze is not backwards. Instead, it offers a contemporary myth, where ancient symbols are recharged through the lens of techno-cultural unease and ecological precarity. The sun, both a giver and destroyer of life, becomes a volatile protagonist; the tongues, its ambiguous interlocutors.
In ‘Mother Tongue’, the erotic becomes a mode of knowledge - not one that explains or defines, but one that touches, dissolves, and reshapes. The video resists linear time, favoring instead a cyclical rhythm that mirrors the spiral, the ritual, the regenerative power of fire. There is no beginning or end - only a continuous attempt to speak with, and through, elemental forces.
Brigita Kasperaitė positions this work within a broader exploration of symbolic, geological, and digital entanglements. Here, the body and the cosmos communicate in an affective loop - where destruction and renewal are intertwined, and where meaning emerges not from clarity, but from sensation.



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	</item>
		
		
	<item>
		<title>wish you were offline</title>
				
		<link>https://brigitakasperaite.com/wish-you-were-offline</link>

		<pubDate>Tue, 14 Oct 2025 09:08:20 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/wish-you-were-offline</guid>

		<description>
	wish you were offline
	Expressing an urgency or desire to connect in a world fully saturated by online media, ‘Wish You Were Offline’—Brigita Kasperaitė’s solo show at Kunsthalle.Ost—turns post-internet aesthetics on their head. Rather than simply employing digital strategies to create objects that exist in the real world, Kasperaitė exposes the raw materials that enable our digital lives, unearthing their divine powers and latent symbolism.

Silicon is an element that is crucial for metabolic processes in plants and, as a gemstone, is said to carry protective and healing properties. It is best known, however, for its use in semiconductor electronics, essential to the transistors and integrated circuit chips found in smartphones and computers. It also famously lends its name to the region in Northern California where many tech companies are headquartered.
Drawing inspiration from the Neolithic motifs and discoveries in Lithuanian anthropologist Marija Gimbutas’ late archeological writings, Kasperaitė dives into the interconnectedness of pre-Christian symbolism with elements of contemporary digital technology. In Gimbutas’ book ‘The Language of the Goddess,’ she revisits the world of earth-centered cultures and ancient matriarchal societies, with special attention to their symbolic artifacts—serpent motifs and sacred stones among them.
A spiraling curtain bisects the space at Kunsthalle.Ost and hovers slightly above the floor, while two hanging fuchsia-hued glass objects, containing silicon stone and argon gas, emit a visible electrical charge. The electrical current that we depend on for so much of our online existence is rendered visible here—technology is dismembered and made vulnerable, demystifying its divine stronghold.

The circuitous qualities of these glowing objects mirror the visual language of the exhibition’s main video work, Mother Tongue. In it, a too-hot sun is being gently licked—perhaps to cool it down? But the raging fire persists, threatening to engulf everything in its path.

The video hints toward an impending eco-disaster but also insists on the important role that fire plays in regenerating lands and cultures. Unable to dull the flames, the serpent-like tongues begin to spiral towards one another. The amalgamated “mother tongue” that emerges here speaks to the inevitable circularity of nature, which will continue independent of the relentless human drive for extraction.
Kasperaitė’s work here captures a kind of techno-paganism, engaging as it does with historical and contemporary forms of myth-making to address a disconnect from the earthly origins of many of our online tools, as well as the layers of history (and speculative futures) embedded in the lithic elements that make up our everyday lives.
Text by Alison Hugill


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</description>
		
	</item>
		
		
	<item>
		<title>heart</title>
				
		<link>https://brigitakasperaite.com/heart</link>

		<pubDate>Tue, 14 Oct 2025 09:08:17 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/heart</guid>

		<description>
	&#38;lt;32025
	


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	<item>
		<title>Big Loving Eyes</title>
				
		<link>https://brigitakasperaite.com/Big-Loving-Eyes-1</link>

		<pubDate>Tue, 14 Oct 2025 09:08:18 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/Big-Loving-Eyes-1</guid>

		<description>
	Big Loving Eyesvideo 1:46’’, 2023


	











A poetic video performance where face filters were used, creating a character looking into the distance with its big loving eyes. The main axis of the video work is to question the visual culture, asking if it happens with a critical approach, how information is selected, or if the user just blindly consumes the visuals that are presented to us mainly through social media.

Here the artist uses poetic expressions about the eyes craving for the consumption of the content, while it starts to mix with popular catch phrases widely used in social media memes and reels. At the end the artists asks: Who owns our eyes?






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	&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/96fe34a6e8b42b9db8079c8bd64698dcb434b0c036e8853b6f380c5b31faeddf/big_loving_eyes_23_Brigita_Kasperaite_video_3.jpg" data-mid="243079743" border="0"  src="https://freight.cargo.site/w/1000/i/96fe34a6e8b42b9db8079c8bd64698dcb434b0c036e8853b6f380c5b31faeddf/big_loving_eyes_23_Brigita_Kasperaite_video_3.jpg" /&#62;
	&#60;img width="1365" height="2048" width_o="1365" height_o="2048" data-src="https://freight.cargo.site/t/original/i/f857e8104276def488d96088f8463a85c5a83abe28d45e15db5b76d8ae2a3634/big_loving_eyes_23_Brigita_Kasperaite_video_.jpg" data-mid="243079742" border="0"  src="https://freight.cargo.site/w/1000/i/f857e8104276def488d96088f8463a85c5a83abe28d45e15db5b76d8ae2a3634/big_loving_eyes_23_Brigita_Kasperaite_video_.jpg" /&#62;
</description>
		
	</item>
		
		
	<item>
		<title>Sandy1.0</title>
				
		<link>https://brigitakasperaite.com/Sandy1-0</link>

		<pubDate>Tue, 14 Oct 2025 09:08:20 +0000</pubDate>

		<dc:creator>Brigita Kasperaitė</dc:creator>

		<guid isPermaLink="true">https://brigitakasperaite.com/Sandy1-0</guid>

		<description>
	Sandy1.0
site specific installation: local sculptures of Kapellmeisters in Gewandhaus Leipzig, video essay 3,56”, 2024
	A video work with a fictional character narrating about all the stones you can find in the Gewandhaus (Leipzig). Be it Cottaer sandstone used for the facade, granite and marmor used for the Foyers, or the marmor used for the busts of the chosen ones. While the character is narrating about the stone brought to perform and being either forgotten or seen as long as the building stands, the narration changes and it’s hard to di)er if a character still means the stones or itself.
As the camera begins to travel through a close-up of a landscape slowly it zooms out and reveals a feminine figure resembling the manly busts already positioned in the Gewandhaus history.


	&#60;img width="5624" height="3164" width_o="5624" height_o="3164" data-src="https://freight.cargo.site/t/original/i/c4329237663e9b8aeba46eb3846da8a9a5fc9065c71175b4c9233e3f99304166/brigita_kasperaite_sandy_HQ_4.jpg" data-mid="239409707" border="0"  src="https://freight.cargo.site/w/1000/i/c4329237663e9b8aeba46eb3846da8a9a5fc9065c71175b4c9233e3f99304166/brigita_kasperaite_sandy_HQ_4.jpg" /&#62;&#60;img width="5760" height="3240" width_o="5760" height_o="3240" data-src="https://freight.cargo.site/t/original/i/dfb21a95cb05ea6cb404c1615dd6a845030eea2202cc0f6a24b26035463fee42/brigita_kasperaite_sandy_HQ_2.jpg" data-mid="239409705" border="0"  src="https://freight.cargo.site/w/1000/i/dfb21a95cb05ea6cb404c1615dd6a845030eea2202cc0f6a24b26035463fee42/brigita_kasperaite_sandy_HQ_2.jpg" /&#62;&#60;img width="5680" height="3195" width_o="5680" height_o="3195" data-src="https://freight.cargo.site/t/original/i/4a562c561dddfa170afbd6da4abee2817182a583141ca40d9c2cb154c3765e7e/brigita_kasperaite_sandy_HQ_1.jpg" data-mid="239409704" border="0"  src="https://freight.cargo.site/w/1000/i/4a562c561dddfa170afbd6da4abee2817182a583141ca40d9c2cb154c3765e7e/brigita_kasperaite_sandy_HQ_1.jpg" /&#62;&#60;img width="5672" height="3191" width_o="5672" height_o="3191" data-src="https://freight.cargo.site/t/original/i/540a6f3d6b7beb2e2edbf962c4feaf0d2d4df1437873ec89be05af811de03412/brigita_kasperaite_sandy_HQ_3.jpg" data-mid="239409706" border="0"  src="https://freight.cargo.site/w/1000/i/540a6f3d6b7beb2e2edbf962c4feaf0d2d4df1437873ec89be05af811de03412/brigita_kasperaite_sandy_HQ_3.jpg" /&#62;


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