Evaldas Jansas

Scissoring pictures of naked women, hearing gossiping on an unlucky neurosurgeon, viewing of a weather-forecast-lady pointing at a huge brain projection. Views and sounds merge provoking curiosity and versatility of interpretation: the movie is a mixed brain of a modern person, a mescal, an ironical view of the pop culture and its critics.
 

The creation of Evaldas Jansas “To Be on Show” („Būti išstatytam“) can be hardly applied any specific genre characteristics. Here one may find documental shots of Vilnius city detailed plan presented to the society, and day-to-day life of psycho-neurological pension home inhabitants with the intertwined “faked-up documentary” i.e. – the acted scenes and computer-edited effects. The entire plot of a tragic and auto-ironic fiction is accompanied by the narration of a stuttering hero, how he finds himself in a lunatic asylum.

It is the third work by Evaldas Jansas of “Anthropology” film series (previous ones: “Anthropology of Fake Documentation: Violence”, 2004; and “Anthropology of Abuse”, 2004). The narrative of the film is based on a very ‘personal story’ of the man (it could be fiction or not), and his reflection to the advertisement mediated society. The video work is constructed of documentary and animated images, whish stimulate a comic, ironic and farce like perception. The story by the artist is told in a particularly sincere manner, which reminds the strategy of suggestibility used in advertisement. It makes a contrast with objective images (inversion of advertisement strategies) and knocks out of experiencing the usual satisfaction. The question is: is it a contemporary capitalism which laughs at me, or it is me, making parody of it? (D.Tumpytė)

Author explores the notion of film-making as shooting by deliberately choosing to film people who are not willing to be filmed. The film is a fast montage of opinions, which, very literally, provokes the author’s comparing with the abuser. The next step he does – E.Jansas leaves the camera behind and takes a gun.

The author documents performers experiences on video performance in „Lynch law”.