Rupert is pleased to invite you to the final exhibition of the Alternative Education Programme – 𝒹𝒾𝓈𝓂𝒶𝓃𝓉𝓁𝒾𝓃𝑔 𝒹𝓇𝑒𝒶𝓂𝓈, 𝒹𝒾𝓈𝓇𝓊𝓅𝓉𝑒𝒹 𝓈𝑒𝒶𝓂𝓈.

𝓞𝓹𝓮𝓷𝓲𝓷𝓰: 24 November 2023, 18:00
𝓔𝔁𝓱𝓲𝓫𝓲𝓽𝓲𝓸𝓷 𝓭𝓪𝓽𝓮𝓼: 24 November–17 December 2023
𝓛𝓸𝓬𝓪𝓽𝓲𝓸𝓷: Tech Zity Vilnius (Panerių st. 43, Vilnius)
𝓔𝔁𝓱𝓲𝓫𝓲𝓽𝓲𝓸𝓷 𝓪𝓻𝓽𝓲𝓼𝓽𝓼:
Ella Jo Skinner, Églantine Laprie-Sentenac, Eglė Ruibytė, Kamilė Krasauskaitė, Lux Sauer, Rokas Vaičiulis, Steph Joyce, Will Krauland

𝓥𝓲𝓼𝓲𝓽𝓲𝓷𝓰 𝓱𝓸𝓾𝓻𝓼:
Thursdays-Sundays at 17:00–20:00
Entrance to the exhibition is free. Entrance to the exhibition – pass through a metal gate, go straight ahead, turn left, go straight until you find a wooden door on your left.

𝓔𝔁𝓱𝓲𝓫𝓲𝓽𝓲𝓸𝓷 𝓽𝓸𝓾𝓻𝓼 𝔀𝓲𝓽𝓱 𝓽𝓱𝓮 𝓹𝓻𝓸𝓰𝓻𝓪𝓶𝓶𝓮’𝓼 𝓬𝓾𝓻𝓪𝓽𝓸𝓻:
– 1 December, 18:00
– 8 December, 18:00
– 15 December, 18:00
𝓔𝔁𝓱𝓲𝓫𝓲𝓽𝓲𝓸𝓷 𝓸𝓹𝓮𝓷𝓲𝓷𝓰 𝓹𝓻𝓸𝓰𝓻𝓪𝓶𝓶𝓮:
18:00 doors
19:00 Rieko Whitfield (music performance)
19:30 4ng3lw4r3 (dj set)
20:30 exmantera (live)
21:30 Matilda (dj set)

𝒹𝒾𝓈𝓂𝒶𝓃𝓉𝓁𝒾𝓃𝑔 𝒹𝓇𝑒𝒶𝓂𝓈, 𝒹𝒾𝓈𝓇𝓊𝓅𝓉𝑒𝒹 𝓈𝑒𝒶𝓂𝓈 is the final show of the 11th edition of Rupert’s Alternative Education Programme. It is the closing chapter of a six-month-long learning process dotted with workshops, lectures, studio visits, crit sessions and other creative disruptions. Loosely guided by the theme of transgressions and traversability, the programme ends at the now-disused and previously publicly inaccessible administration building of the 𝓛𝓮𝓵𝓲𝓳𝓪 sewing factory. Eight new site-specific installations will briefly yet intensely transform the building before its inevitable demolition. A strong metaphor and symbolic gesture, best described by the words of one of the participants Rokas Vaičiulis:
‘In 𝒹𝒾𝓈𝓂𝒶𝓃𝓉𝓁𝒾𝓃𝑔 𝒹𝓇𝑒𝒶𝓂𝓈, 𝒹𝒾𝓈𝓇𝓊𝓅𝓉𝑒𝒹 𝓈𝑒𝒶𝓂𝓈, the distribution of the space and its creative inhabitants is established through mutual detachments. Each crevice reaches towards its own world and pitches among the separated, vacant cabinets of the spacious former sewing factory’s bureau unit. Stretching through the three floors of the building, however, the crevices are no longer separated by the labor hierarchy or their spatial function; rather, they act as patchworks to be experienced while steering through atmospheres and dialects that echo the clusters of shared sensoriums and pursuits. Subtracted from the shades of blue-collar and the noise of fluorescent lights at maximum hum-buzz, each cabinet invites an avid peek into the seamless pockets of processes and temporal wedges, a curious call to traverse through and into the ascending and descending structures, and imagine their interdependencies according to one’s own mental map.’