“The opposite of natural rot – which could be acceptable in an obscure way in a perishable organic being – his soul had become abstract, and his thought was abstract; he could think what he liked and nothing would happen. It was purity. There was a certain perversion in becoming eternal. His own body was abstract. And other people were abstract: all of them were sitting in seats in the dark movie theatre watching the film. When they came out of the movies – even when they had not forgotten the soft breeze waiting for them, and which you cannot even imagine, for it has nothing to do with the stupid sun of which a stone is victim and by which it has been created – when they came out of the movies there was a man standing and begging. Then you would give him the abstract handout without looking at the man who bore the perpetual name of beggar. Then you would go home to sleep in abstract beds, held up in the air by four legs; you made love with some concentration, and you slept like a fingernail that had grown too long. We were eternal and gigantic. I, for example, had a huge neighbour.”
—extract from The Apple in the Dark by Clarice Lispector (Translated from the Portugese by Gregory Rabassa)
Audi Fantasy is a three part film by artist Gintaras Didžiapetris (born 1985, Vilnius) Commissioned by Pavilion, the exhibition was originally presented in a former apartment on the second floor of Maschio Hair & Beauty in Leeds city centre.
Audi Fantasy was produced in collaboration with MARCO Vigo, Spain and supported by ARRI, Arts Council England, EU Culture Programme, Leeds City Council, The Ministry of Culture of the Republic of Lithuania, NAC Image Technology Inc, Obayashi Foundation and Richer Sounds.
Adam Pugh, ‘Profile: Gintaras Didžiapetris,’ Art Monthly (November 2014)