nameless hour, 2014


“Barbara”, 2014, a sound recording: 5 min and series of drawings: 6 pieces, 21×29,7 cm
“Yvonne”, 2014, series of b/w photographs: 5 pieces, 65×43,3 cm
“Nameless”, 2014, an experimental film in three parts: 10 min; 4 min; 3 min. 30 sec.
In collaboration with LGBT community: Elena Dapkūnaitė, Gabrielė Labanauskaitė, Virginija Popovaitė, Ieva Turevičiūtė and Eglė Visockė.

The participants in the project “Nameless Hour” are several members of the basketball team of the Lithuanian LGBT community. The coordinates of the hands connect different parts of the contemporary art project.

Do the main character in the 1948 crime drama “Sorry, Wrong Number” and the action performed by Yvonne Rainer in the 1966 avant-garde film “Hand Movie” have anything in common?

The character played by Barbara Stanwyck in “Sorry, Wrong Number” is confined to her bed. She is imprisoned in her bedroom, with no chance of escaping, and is eventually killed.


In “Hand Movie”, her first avant-garde film, Yvonne Rainer performs a hand dance in front of the camera, while in bed in hospital recovering from an operation. Yet Barbara Stanwyck’s character suffers from psychosomatic causes, and does not have the strength to get herself out of the situation, while Yvonne Rainer finds a solution: even if the legs cannot move, a hand can dance. The participants in this project try to supplement the minimalist dance of Yvonne Rainer’s hand with gestures of their own (the series of photographs “Yvonne” (2014).

In the work “Barbara” (2014), a moving/dancing hand becomes a means of changing the script of the film “Sorry, Wrong Number”. Inčiūraitė copies the hand movements of the character in this film from the monitor to paper: the trajectory of gestures drawn by a disabled woman turns into the coordinates for a game on a basketball court by the participants in the project. Marker strokes follow only hand movements (a hand holding phone receiver) that were performed by the film’s character while she is listening to a telephone conversation, accidentally overheard because of a faulty connection. She learns that at an agreed hour a woman will be killed, who, as the character later finds out, is herself. The participants in the project in turn repeat the combinations of the character’s movements on the floor of the basketball court, doing a warm-up with a ball. Later, the basketball players begin to play a spontaneous game, straying from the rules of the “game” in the film.


The three-part experimental film “Nameless” (2014), composed mainly of photographs, is exhibited alongside. The participants tried to collect their own negative experiences as material for this film, by naming certain locations, situations, books, smells, etc. The film shows speechless comments of their own experiences, which are related to the daily life, routine.

The film “Nameless” is based on commonness similarly as Rainner’s hand choreography, which is extended by the participants and goes further into the performative action “Two of Us”, 2014. During the opening several participants in the project invite the audience to play one of the tactile games which are performed in women’s self-defence training (not practised in Lithuania). The game of psychological warm-up and the building up of mutual trust, which is played in closed women’s circles, is transferred in this project to a public space. The spectators with their eyes closed are led around the space by hand slowly and gently.