Another of the tribe’s customs is the discovery
of poets. Six or seven words, generally enig-
matic, may come to a man’s mind. He cannot
contain himself and shouts them out, standing
in the center of a circle formed by the witch
doctors and the common people, who are
stretched out on the ground. If the poem does
not stir them, nothing comes to pass, but if the
poet’s words strike them they all draw away
from him, without a sound, under the command
of a holy dread. Feeling then that the spirit has
touched him, nobody, not even his own mother,
will either speak to him or cast a glance at him.
Now he is a man no longer but a god, and any-
one has license to kill him. The poet, if he has
his wits about him, seeks refuge in the sand-
dunes of the North.

Jorge Luis Borges. Doctor Brodie’s Report

Art Vilnius 2025

These are strange times, Art Vilnius 2025, with drones crossing our skies. Within this context, our booth becomes a place of refuge, where Rachel Libeskind’s Black Flag/White Flag series is unfurled. Inspired by a 1934 German publication of so-called “non-European” flags, the work consists of silkscreen paintings on canvas that investigate the form and function of the flag as symbol. Libeskind has stripped away all identifying marks—many of which once represented geographies that no longer exist, erased from collective memory. What remains are outlines and contours: skeletal boundaries of flags without nations.

Visitors are invited to take part in Happenings with Alexandra—movement sessions accompanied by music composed by Juan Gabriel Sanguino—that awaken the senses, attuning us to the vibration of every atom as our bodies shift and our feet echo the earth’s rotation.

Alongside, works by Asef and Burckhard extend their long-term research into the Sea Ranch architectural complex north of San Francisco. Their practice asks how architecture might respond today in a world of dwindling environmental solutions, while also addressing a timeless question: