Justina Nekrašaitė (1987/LT) is a curator, project manager, and photographer based in Amsterdam. Nekrašaitė studied photography and media art at the Vilnius Academy of Arts, where she specialized in interdisciplinary art. In addition, she was a studying at Miguel Hernández Faculty of Fine Arts of Altea, participated at Radboud University (Nijmegen), Masterclasses “Waves” Blikwisseling and made an internship at De Monsterkamer, Amsterdam.
November 2014 - November 2015 together with Anastasija Piroženko coordinated Wrong Titled Films. Wrong Titled Films: LT / NL was created as a platform for young filmmakers and video artists, who are based in The Netherlands or Lithuania. The aim was to present young artists/filmmakers to an international audience and support their creative freedom and expression. The project has been supported by Ministry of foreign affairs of the Republic of Lithuania.
In September 2016 Justina has been invited to join the Breaking For Knowledge project team as a project manager. Breaking For Knowledge is series of presentations and informal conversations on artistic fields’ related theses, either produced in a Dutch Institution or about the Netherlands. Justina contributed until May 2017.
The past two years Nekrašaitė has worked as a head curator at Bookstore Space. She initiated various solo exhibitions with national and international artist a.o. Marjolijn Rijks, Iztok Klancar, Muge Yilmaz, Sylvain Tegroeg, Kate van Harreveld, Naomi Souwen & Willem Oudenhoven, Maaike Visser, Irina Volgareva, Stephan Blumenschein, Johanna de Schipper, Chris Meighan, Hans Hoekstra, Ailsa Kay, duo Khurtova and Bourlanges, Olia Ganzha, Daniel Dmyszewicz, Isabel Cordeiro.
On top of that, Nekrašaitė is a founder of Eighteen 29 project. Eighteen 29 is a living room in her private apartment dedicated to bringing artists and hosts together to create programming that is the product of an experiment.
Laser print on paper, plastic sheets
210 mm x 297 mm
Investigation of the relationship between the nostalgic individual and collective memory was at the heart of Justina’s artistic practice from its earliest stages. Her subtle way of perception intrigues her interest in deconstruction as a way of simulation and recreation of reminiscence. Justina often borrows materials, objects, stories from the past and recreates them into an increasingly individual dynamic between herself and her audience. While using a variety of materials and media she tries to keep her methodology in minimal aesthetics.
Besides working on a memory issue she keeps her artistic practice wide open with a sensitive approach to the experiences in everyday life. Justina is also interested in and experiments with, creative writing and collaboration projects.