Monika Dirsytė: “On a scorching summer afternoon, when a chanterelle-friendly medium was luxuriating under our Covid-protective masks, we witnessed an incredible challenge of presence (in art, in the presence, at #home, in the pandemic) that required both psychological and physical endurance from the artist. Researching performative art practices in the academic sphere, I tend to keep the events in a certain ‘mental drawer’ called TIME.
Dirsytė’s performance practice is characterised by a violation of socially ‘acceptable’ duration, an individual presence in public space and society, or disrupting the standards of such a normative coexistence, which altogether extend the 20th century’s tradition of the performative turn that manifested itself in the anti-institutional discourse of an embodied existence substantially.”
Monika Dirsytė (b.1989) is one of the most active performance artists in Lithuania representing the young generation. Her works are installations combined with performance which allows her to participate in her work. The idea and its visual presentation are given equal value by the author who seeks to elicit subconscious reactions in the spectators rather than to make them think consciously. When speaking about the central axis of her creative work, Monika emphasises multifaceted openness: “I am not afraid to share my world with someone else. It is not my intention to colour my world more beautifully than it is. I want to be with a person just like he or she is. And I best succeed in this namely through my performances.”
From the very start of her creative path, Monika’s performances have been outstanding for visuality: the artist’s focus is not only on the action she performs, but also on the whole environment which she is creating herself (performances “ONĖMONĖ”, “TRUENOTTRUE”, “Monika to Monika”, “Facebook”). Every small detail in her performances is used deliberately and with reason. Another important aspect in Monika’s works is openness. She is sincere and brave in denudation in front of her audience. Her performances are closely linked to her personal experiences which are yet brought closer to the spectators and transformed into a collective experience that everyone comes through individually. Monika’s performances require emotional and physical endurance not only from her but from the spectator as well.