Makarevičius is a graduate of Vilnius Academy of Arts (1988-1994) where he studied painting, although his debut in the art scene in the 1990s was as a maker of installations, objects and documentary film. Makarevičius’ more explicit introduction as a painter happened two years ago with the show Surrender (curated by Julija Dailidėnaitė), at the VDA exhibition hall Titanikas, and this year his Man. Nature. History was shown in the art fair ArtVilnius’18.
Makareivčius’ artistic production includes stage set design, making him one of the leading figures in the field, designing sets in Lithuania and abroad. For his stage work, Makarevičius has been awarded three Golden Stage Crosses and, in 2017, he received the National Prize for Culture and Art.
Makarevičius has been recognised beyond Lithuania’s borders, too. He has participated in a number of prestigious contemporary art exhibitions, including the contemporary art biennial Manifesta 4 in Germany (2002) and La Rochelle International Film Festival in France (2005). In 2008, Makarevičius was awarded one of the most important documentary filmmaking accolades, the main prize of the Lugano film festival for his documentary Winter Parallels.
Makarevičius’ works are in the collections of KIASMA contemporary art museum in Finland, MO Museum in Vilnius and a number of private collectors. Makarevičius’ 1990s installation Hair I, II, III, IV is exhibited in the National Gallery of Art.
If painting can be abstract, so can clouds.
I was painting a face, but I didn’t like it. Then a tree, but it didn’t convince me either; it looked too tree-like. I have realised I don’t want to paint things that already ARE.
How to join image and feeling or thought? Why does it matter?
The language of painting has its own grammar. It cannot be read either in words or sentences, but, clearly, it can be experienced and understood.
Painting is the art form that is most closely linked to the maker, since it can contain his psychophysic information and at the same time act as therapy, allowing one to stop time.
When concerts of art (I meant to write ‘concepts’) become wearisome, you want to recall the beginning.
What inspire most are senselessness and the process of painting, since therein lies freedom.