What connects mystical runes, sublime sounds, hypernatural birds, and the very middle of Europe? Wrong answers only, as the meme goes, because “nothing” is obvious. Narkevičius’ constellation of sculpture, photography, and sound installation, topped for good measure with a 3D film gimmick, pulls in too many directions.
This luck-of-the-draw curating is unsatisfying and disruptively confusing. It forces the eye to find comfort in the Lithuanian’s already familiar and predictable 1997 video on “the post-Soviet era”. This modest work, lightly twitching the Iron Curtain, inadvertently becomes a centrepiece. In the age of the decolonial, this is as quaint as it is outmoded, and the contextual vacuum of this cutting room floor helps no one.