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The biodegradable art project Efemerai is created from used coffee grounds and other organic materials. These flowers are not only aesthetic objects but also functional artworks—fully compostable and usable as fertilizer for plants. 

The term Efemerai (from Greek ephemeros—short-lived, fleeting) refers to plants with a short but intense growth cycle. This symbol was chosen deliberately to reflect fragility, impermanence, and our constantly shifting relationship with nature. 

The project is guided by three principles: 

Sustainability – using coffee waste as a creative material;

Composting – ensuring that all components are 100% organic;

Ecological value – allowing the artwork, after its life cycle, to become a nourishing resource for the soil.

Eglė Jasaitytė is an artist navigating the space between creative pleasure and environmental benefit. She is constantly searching for sustainable art practices—ways to create responsibly and inspire transformation in both art and interior design. Her latest biodegradable project involves clay made from coffee grounds and other organic substances. This path emerged from a personal drive to reduce waste in her artistic process and demonstrate that even what is typically discarded can bloom into new forms.

Kasa kosa koltūnas is an ongoing research-performance exploring our relationship with what lies behind us—unreachable and unseen. Drawing from somatic practices that focus on physical sensations, the work listens to the back side of the body, metaphorically restoring a connection with the past that gently pushes us forward. It is a learning process of sensing, seeing, and moving through the back—accessing a reversed world where subconscious and irrational dimensions of humanity are revealed. 

In this world, the “back” of the face—the hair, a dead yet living extension of the body—takes on the role of expression, connecting with the realm of the non-living. The braid becomes a multilayered symbol linked to Lithuanian and Ukrainian mythology—evoking figures such as Laima and Giltinė, often depicted riding a horse together, or the faceless silhouette of the Ukrainian motanka dolls. 

This creative process unfolds like archaeological excavation—searching for what is already embedded in the body, merging imagination, sensation, and associative layers into a continuously evolving whole. What the audience encounters is not a finished performance but the findings of these embodied “diggings.” 

Anna Fedoronchuk and Beatričė Zaveckaitė are a Brussels-based artistic duo working at the intersection of choreography, somatic practice, and photography. Beyond their focus on the body and performance, they are active members of the experimental musical improvisation collective L.I.E. Bxl and advocate for horizontal collaboration models. 

Anna, a dancer and performer from Odesa, and Beatričė, who discovered dance and theatre in Italy, began their collaboration during their final year at the contemporary dance school P.A.R.T.S. Their joint work is rooted in exploring subtle and less visible dimensions of movement—not defined by specific dance techniques, but accessed through sensation, association, and somatic inquiry.

It is a performance that uses sound and visual media to examine crimes committed against women in Lithuania from the 19th to the 21st centuries. Based on historical facts, documents, and testimonies, the work draws inspiration from burial rituals for accused witches, in which their hands and heads were severed, their remains placed at the feet, and stones shoved into their mouths to prevent them from cursing their executioners or revealing their visions. In this performance, the stone becomes a central symbol—representing the silencing of women’s will and the suppression of their fundamental rights and abilities, which has persisted for centuries and shaped the evolution of women’s roles in society. 

Today, the performance’s director and performer, Greta Gudelytė, calls for a public, collective acknowledgment that these centuries of repression were not merely a reflection of “the times,” nor something to be forgotten under the pretense that “it no longer happens.” These were systemic historical crimes against women that must be named, remembered, and recognized. 

The creative team consists of four independent female artists. The dramaturgy of the performance was developed by writer, director, and actress Greta Gudelytė through analysis of material found in historical books, articles, folklore, and museum archives. During the process, the team engaged with women, listened to their stories, and invited them to have their portraits taken. These photographs—captured by artist, photographer, and human rights activist Aušra Volungė Griškonytė—are presented during the performance as documentary artifacts and visual signatures of solidarity with the work’s central theme. Director and artist Eglė Kazickaitė (Apeiron Theatre) contributed the visual design, while composer Toma Čepaitė transformed silent emotions into layered musical textures that accompany the performance throughout. 

Directors: Greta Gudelytė, Eglė Kazickaitė
Composer: Toma Čepaitė
Dramaturg: Greta Gudelytė
Photographer: Aušra Volungė Griškonytė

The chamber opera Jūreivis is based on the only play ever written by Portuguese author Fernando Pessoa. It is a meditation on the nature of dreams and reality. The opera tells the story of three sisters keeping vigil beside the urn of their deceased fourth sister. To pass the time, they share memories of a perhaps never-lived past and dreams—including one about a sailor stranded on a deserted island. As their tales unfold, the sisters begin to question the very fabric of existence, death, and imagination: could they themselves be nothing more than illusions conjured by an unknown dreamer? 

Using minimalistic means, director Jonas Kuprevičius and composer Lukas Butkus explore the themes of Pessoa’s rarely staged text through the format of chamber opera. According to the creators, the operatic genre allows for a nuanced expression of Pessoa’s literary playfulness, while the music—infused with the spirit of the Baroque era—intertwines poetically with the existential questions posed in the libretto. Jūreivis is not only an opera but an invitation to cross the boundary between dream and reality and immerse oneself in a profound musical experience. 

Director: Jonas Kuprevičius
Composer: Lukas Butkus
Costume Designer: Elena Marija Veleckaitė
Soloists: Salomėja Petronytė, Liepa Ribokaitė, Ūla Marija Zemeckytė, and Ignas Ščesnulevičius
The work is developed by a new generation of artists and was initially created as a sketch within the MMLAB Erdvė project.
Production Support: UAB Ivabaltė

A contemporary oratorio that intertwines the authentic testimony of deportee Algirdas Pūras with electroacoustic music and spatial sound. The work recounts the deportation of a Lithuanian to Siberia, partisan resistance, NKVD torture, and deeply personal experiences. At the same time, it conveys universal themes—suffering, resilience, betrayal, forgiveness, and reconciliation. 

What distinguishes this oratorio is that music is not merely a background element—it actively shapes the narrative through the use of spatial acoustics and electronics. Here, sound functions not only as a vehicle for emotional expression but also as the structural axis guiding the listener through various layers of historical and personal memory. In this immersive spatial composition, voice, live instruments, and electronics act as equal narrative agents, with the soundscape allowing the audience not only to hear but physically experience the story. 

The oratorio does not settle for mere representation—it invites the audience to participate in a living memory process, encouraging reflection on the wounds of collective trauma and their resonance in the present. 

Domantas Pūras is a composer of contemporary music whose artistic practice navigates between acoustic and electronic media, conceptual rigor, and sensitive sonic craftsmanship. His work is marked by attention to sound structure, spatiality, and narrative forms, often merging vocal, instrumental, and electronic layers into cohesive musical dramaturgy. Pūras is active in both concert and interdisciplinary music fields, with his works featured in contexts such as the Gaida Festival, Nobel Week Lights, Druskomanija, and other international projects.

Longing is a musical performance by Justina Mykolaitytė and Godo Yorke, where the experimental duo reinterprets music written over four centuries ago. The contrasts and affective shifts of Baroque arias are “elongated” here into a sonic fabric of longing. The performance features arias by three composers—Antonio Cesti, Claudio Monteverdi, and Antonio Vivaldi—accompanied by nostalgic electric guitar sounds. 

Baroque bel canto vocals interweave with improvisations and elements of pop music, creating a dialogue between the old and the new, the classical and the authentic, the virtuosic and the experimental. 

Justina Mykolaitytė is an artist, actress, and performer actively working across music, theatre, and interdisciplinary art. Her practice is characterized by multidisciplinarity—voice, music, movement, acting, visuals, and improvisation. She has collaborated with artists such as Lina Lapelytė, Rugilė Barzdžiukaitė, Vaiva Grainytė, Arturas Bumšteinas, Eglė Švedkauskaitė, Agnė Matulevičiūtė, and Gailė Griciūtė. In 2025, she completed a master’s degree in Baroque opera performance (singing) at the Lithuanian Academy of Music and Theatre. 

Godo Yorke (Goda Sasnauskaitė) is a performer, songwriter, and lyricist known on the Lithuanian alternative music scene. Her work spans avant-pop, alternative pop, and jazz, known for its emotional intensity and experimental flair. She performs both as a solo artist and in collaboration with groups such as the St. John’s Gospel Choir. Her 2024 studio album Perkūnija was presented at St. Catherine’s Church and acclaimed by LRT Opus and the magazine 370.