Title: HABAS
Text: Tomas Martišauskis
Photos by: Lukas Mikolaitis
Year of Creation: 2017
Category: Solo exhibition,
Location:POST gallery, Kaunas
Description: The solo exhibition retrospectively reveals the universal law of falsehood through an overview of cultural artifacts and forms their relationships with everyday experience.

Pavadinimas: HABAS
Tekstas: Tomas Martišauskis
Nuotraukos: Lukas Mikolaitis
Sukūrimo metai: 2017
Kategorija: Personalinė paroda
Vieta: POST galerija, Kaunas
Aprašymas: Paroda retrospektyviai apžvelgia visuotinį melo dėsnį per kultūrinių artefaktų formas ir jų santykius su kasdiene patirtimi.

HABAS*

The exposition's retrospective in the exhibition becomes a single cause, entire, which creates ties through objective means, reveals the universal principal of lie. Every relation of existing matter with it becomes our unquestioning daily experience. As if in the review of the cultural artifacts exhibited in related subjects, it appear shapes like a projection, shadow, screen, holographic identity, prints, structure, levitator, photo object, filter, drapery, illustration when:

- all elements become equally important links to the metering center;
- when the cunning of artificial intelligence became a sensation only yesterday and forcibly left scientists to scare their work;
- when the characteristics of the perfect deceiver described by the psychologists exactly coincide with the main motto of self-improvement textbooks;
- when the ethics of deception become the norm in gross political manipulation;
- when Buratin of Lev Tolstoy regains the opportunity to become a man in plastic surgery clinics, taking over the capitalist history of Pinocchio;
- when the plurality of aliases is propagated through fiber optics throughout the entire web space;
- when the truth is abominable, while falsehood shines with its quirky beauty;
- when we deceive by choice, we feel the greatest pleasure;
- when during a trip unexpectedly discovering the clutter of your own navigator;
- when there are only such idiosyncrasies that an era allows opportunity
for being;
- when the lie becomes the reason for the creation and its development does not go through its forms in the diversity of objects;
- when Epimenid claims that the statement located below is false;
- when he replies at the same time that the statement located above is correct;
- when the lie becomes the author's entire, formed from the connection between the past shadow theater and the hologram tomorrow's projection;
- when intelligently detected post-truth emotion denies undisputable facts;
- when the supreme form of false manifests itself through the proclamation of truth in such ways that no one has the wish to believe;
- when all reality is potentially a lie and such balance is maintained only by agreements and their foundations;
- when conscience is still attacked by the dekalo's sins, and with every fall, they become more and more clear values;
- when such a transformation can lose all that is stable, who acquires the coefficient of faith;
- when, once successfully lie, feel that conversion, and the innocent and open lie gradually becomes self-evoked as a pretext for refining their disadvantages or fulfilling their desires;
- when the illusionist fills his glory as a reward for his fists, and such innocent deception as a pleasant surprise shakes the viewer and gives him a blessing;
- when satisfaction to be deceived becomes a daily pleasure in looking at the face of the make-up illusion;
- when fragments of a psychosocial state take on their forms in matter;
- when the exposition comes from words that have become bodies in the circumstances;
- when old news finds itself in the news circle;
- when the place and time are based on the universal law of attraction.

* 1. coupler, 2. conveyor (starter coupler in the center of the grid).

HABAS*

Ekspozicijos retrospektyvumas parodoje tampa ta vienijančia priežastimi, visuma, kurios objektyviomis priemonėmis sukurtuose ryšiuose, atskleidžiamas visuotinis melo dėsnis. Kiekvienos egzistuojančios materijos santykis su juo tampa mūsų nekvestionuojama kasdiene patirtimi. Tarsi apžvalginėje kultūrinių artefaktų ekspozicijoje tampriai susijusiomis prasmėmis, atsiranda tokie pavidalai kaip projekcija, šešėlis, ekranas, holografinė inscenizacija, atspaudai, struktūra, levitatorius, foto objektas, filtras, draperija, iliustracija, kai:

- visi elementai tampa vienodos svarbos nuorodomis į apykaitos centrą;
- kai dirbtinio intelekto gudravimai tik vakar tapo sensacija ir privertė mokslininkus ne juokais išsigąsti savo kūrinio;
- kai psichologų apibūdintos tobulo apgaviko savybės tiksliai sutampa su savęs tobulinimo vadovėlių pagrindiniais moto;
- kai apgaulės etika tampa norma makiaveliškose politinėse manipuliacijose;
- kai Levo Tolstojaus Buratinas pasisavinęs kapitalistinę Pinokio istoriją vėl atgauna galimybę tapti žmogumi plastinės chirurgijos klinikose;
- kai pseudonimų gausa tiražuojama šviesolaidžiais po visą internetinę erdvę;
- kai tiesa yra bjaurimasi, o tuo tarpu melagystė akina savo tviskančiu grožiu;
- kai apgauti savo noru jaučiame didžiausią malonumą;
- kai kelionės metu netikėtai atrandi savojo navigatoriaus klastą;
- kai yra tik tokie prasimanymai kuriems laikmetis suteikia galimybę būti;
- kai melas tampa priežastimi kurti ir jo tapsmas daiktų įvairove neišsenka savo formomis;
- kai Epimenidas teigia, kad žemiau esantis teiginys yra klaidingas;
- kai tuo pačiu aidu jam atsakoma, jog aukščiau esantis teiginys yra teisingas;
- kai melas tampa autorine visuma, besiformuojančia iš ryšių tarp praeities šešėlių teatro ir holograminės rytojaus projekcijos;
- kai sumaniai išrandamų post-tiesų emocija paneigia nenuginčijamus faktus;
- kai aukščiausioji melo forma pasireiškia per tiesos sakymą tokiais būdais, kad ja niekam nekyla noras patikėti;
- kai visa tikrovė potencialiai yra galimas melas ir toks balansas palaikomas tik susitarimais ir jų įsteigimais;
- kai sąžinė vis dar atakuojama dekalogo nuodėmių, o jos su lig kiekvienu nuopuoliu tampa vis aiškesniais vertybiniais orientyrais;.
- kai tokioje transformacijoje galima netekti viso kas yra stabilu, kas įgyja tikėjimo koeficientą;
- kai, kartą sėkmingai pamelavęs, pajauti tą virsmą, ir nekaltas ir atviras melas palaipsniui tampa saviugdos pretekstu tobulinant savo trūkumus ar įgyvendinant savo troškimus;
- kai iliuzionistas tenkinasi savo šlove, kaip atpildu už jo pirštų miklumą, ir tokios nekaltos apgaulės, tarsi malonios staigmenos, prablaško žiūrovą ir suteikia jam palaimą;
- kai pasitenkinimas būti apgautam tampa kasdieniu malonumu, žvelgiant į makiažo iliuzijos apimtą veidą;
- kai psichosocialinės būsenos fragmentai įgauna savo formas materijoje;
- kai ekspozicija atsiranda iš žodžių, tapiusių kūnais aplinkybėse;
- kai sena žinia randa sau terpę naujienų kontūruose;
- kai vieta ir laikas išsidėsto pagal visuotinį traukos dėsnį.

* 1. šakotuvas, 2. telktuvas (žvaigždinio jungimo įtaisas tinklo centre), angl. hub.