The strong aesthetic photographic language of the series leads one towards understanding of the proposed formulas of happiness in Lithuania through archetypes, symbols and metaphors. The consciously constructed image, centered composition solutions and direct confrontation with the subject paradoxically create the impression of an encounter with an irrefutable fact. The fact that what we see in Mindaugas Azusilis’s project is the Bible of Lithuanian happiness. Yet this collection of images rather than texts is more of a rejection of what we understand as a happy life today, having lost awareness of reality. Our shallow attitude towards everything around us often seamlessly masks our everyday anxiety, yet the “happinesses” that the young artist’s photographs capture reveal themselves in all their naked material beauty here.
The need for happiness is very individual, yet here and now I feel tempted to address the feeling of being coerced, the duty to be happy. And although the need for happiness is programmed in each of us, the society and its value orientations inevitably influence its form and intensity. In the age of the construction and satisfaction of desires, the fear of being unhappy is probably the biggest obstacle to feeling happy, while the antonym of happiness has become the synonym of abnormality.
Happiness in Lithuania is a photographic typology of happiness, which lays bare banality, vanity, and the fact that we are content with the mere outward image of happiness. Although it contains a hint of irony, this project goes beyond national borders and calls for supporting the politics associated with the ethics of unwillingness. Paraphrased and recontextualised, the famous Frenchman Stéphane Hessel’s phrase “to create is to resist, to resist is to create” seems to inform the paradoxical determination to resist the imposed concept of happiness, which is precisely the essence of Mindaugas Azusilis’s work.
— Egle Deltuvaite
Long before iPhones and Instagram: 60 years of one Dutch girl's "selfies" firing a gun into the camera! Outrageous lifetime photo concept — watch her age in the same pose — a split second after she pulls the trigger of her rifles — from age 16 to 88.
Hââbré is one word for scarification, the age-old practice of performing a superficial incision in a person's skin. These portraits capture a fast disappearing tradition and thus bear witness to a rapidly, radically changing way of life.
A new book reveals 64 images of the much-censored public protests that took place at Tiananmen Square on June 4, 1989 — however, to "see" the real images you must use your smartphone or tablet to invert the colors of the printed images so the negatives are seen in "real" colors. Thus, this art book has multiple dimensions and layered meanings.
composes multiple photographs to establish visual paths that form displaced narratives, questions, juxtapositions and more lies. The algebraic numbering on the images is a forceful and assertive element that emphasizes an individual perspective that may or may not have meaning.