About Yuge Kurt’s Key Projects
ANTI/FRAGILITY, 2023
“ANTI/FRAGILITY” begins with a paradox: fragility here is not the opposite of weakness. It becomes a state from which resilience, movement, and change can emerge. In large-format watercolour, this idea is especially fitting. Water, pigment, and paper never allow the result to be fully controlled, so the technique itself echoes the theme of the exhibition.
The exhibition brought together large-format watercolours, music, and technological interpretations, but what mattered most were the different ways of experiencing the same state. Uncertainty shifted from a technical quality of painting into a broader question: how much attention do we really need in order to feel?
Web3 Summit Conference / Impact on the Economy, 2023
The art presentation at the Web3 Summit took Yuge Kurt’s work out of the usual gallery setting and placed it in a space where the conversation was about technology, the economy, and new models of digital society.
In this context, the work acted almost as an intermediary between two languages: technological and artistic. The watercolours and their AI interpretations made it possible to talk about algorithms not through program logic, but through the image: what does technology do with something a person has already created, and how much new meaning can emerge from this encounter? The project was presented in November 2023 at the conference organised by SUPER HOW? at LITEXPO.
HEADS, MASKS, MASCARONS, 2024
In art, a mask almost always speaks not only about what we hide, but also about what we deliberately show. In the group exhibition “Heads, Masks, Mascarons”, the face was explored as a territory of identity, social role, protection, and representation.
The large-format watercolour “Fashionista” with synthetic interpretations, presented by Yuge Kurt, added another layer to this context: today, the face and identity are shaped not only by the body or clothing, but also by the digital image of ourselves that we constantly produce. In this way, the historical theme of the mask naturally met the contemporary culture of self-representation. The exhibition at the Museum of Energy and Technology featured artists from various fields, from painters and sculptors to textile and interdisciplinary artists.
10th International Watercolour Biennial “Baltic Bridges X/TEN”, 2024
Watercolour is often associated with lightness and small formats, but “Baltic Bridges” shows a very different potential: watercolour as an independent medium of contemporary painting. The tenth biennial continued a watercolour tradition that began in the Baltic countries in the 20th century and brought together more than sixty artists from Lithuania and other European and Middle Eastern countries in a single programme.
Yuge Kurt’s participation matters here not only as the fact of an international exhibition. In her practice, watercolour consistently moves away from the traditional idea of the “transparent study”: the scale grows, and the white space of the paper, the random movement of pigment, and the unruliness of the material are put to use. It is precisely in this context that watercolour becomes not a technique, but a way of thinking
IT IS COMING, 2025
What is the “it” that is coming? The exhibition deliberately leaves the question unanswered. “It” could be technology, a state, an event, a fear, a new order, or simply a change that has not yet been named.
In the abstract works, organic structures may resemble vegetation, a city, a field of pixels, or an unknown cosmic terrain. The mechanism of recognition itself becomes important: the viewer looks at an undefined image and tries to turn it into something already familiar. That is why “It is coming” can be read not only as a story about a technological future, but also as an exhibition about our relationship with the unknown, about the need to give form to what we do not yet understand.
ECHOES FOR WHITE SPOTS, 2024
“Echoes for White Spots” is built on a simple but rich principle: an echo is always the return of something that has already happened. Yet when it returns, it is no longer quite the same.
In the exhibition, the white space of the paper becomes not an empty area, but an active part of the work: a pause, something left unsaid, a place the artist deliberately leaves unfinished. The viewer is given the chance to fill this emptiness with their own associations or, on the contrary, to leave it unfilled. In a contemporary environment where attention is constantly taken up by images and information, such a white spot becomes almost a form of luxury: a chance to leave room for silence.
In the watercolours, motifs from nature meet archetypes and fragments of pop culture, while human desires, anxiety, and a gamified everyday life appear not as directly illustrated themes, but as echoes left within the image.
ArtVilnius’25
An art fair is a different space from a museum or a solo exhibition. Here, a work does not exist in isolation. It enters an intense field of images, galleries, collectors, and different artistic positions. That is why what matters is not only the individual work, but also how quickly the artist’s language can be recognised.
“ArtVilnius’25” offered a particularly direct context for this: the 16th edition of the fair featured more than 80 galleries and art institutions and presented more than 320 artists, with collecting and Baltic collections at the centre of the fair’s attention. For Yuge Kurt’s work, this became an opportunity to operate not only within an exhibition narrative, but also within the art market, alongside many other languages of today’s art.
I AM PLURAL, 2026
“I Am Plural” asks not “who am I?”, but how many different versions of ourselves we can be at the same time today. Identity here is no longer a single, unified portrait. It is constructed from the physical body, a name, geography, images, past experience, digital representations, and the stories we create about ourselves.
The dialogue between Yuge Kurt and London-based Egmontas Geras took place remotely for more than three years, without the artists meeting in person. At the Vytautas Kasiulis Art Museum, this previously intangible relationship took on the body of an exhibition for the first time. Graphic art, photography, painting, print, and technological processes worked here as different systems for constructing identity.
The principle of rewriting is especially important in Yuge Kurt’s works: the original image can be transformed, returned to physical form, and changed again. Yet the person remains at the centre of this process. Not technology in itself, but the question of how past experience is rewritten into the present and becomes a model for our choices, behaviour, and self-perception. That is why “plural” here does not mean a fractured identity, but a state that is becoming increasingly natural for people today.
Around 4,000 visitors saw the exhibition at the Vytautas Kasiulis Art Museum over two and a half summer months, a notable figure compared with previous years.
Art Vilnius’26 Panel Discussion “AI in Art: Between Creativity and Law”, 2026
The discussion brought together two perspectives that are especially relevant today: creative practice and legal responsibility. The conversation featured artists Yuge Kurt and Rimas Sakalauskas, as well as COBALT lawyers Simona Liuimienė and Dovilė Platakytė, and was moderated by Kotryna Kurt.
The conversation went beyond the question of whether artificial intelligence is just another creative tool. The speakers discussed the limits of authorship, ownership, training models on the works of living artists, transparency, ethics, the art market, and how technology is changing the artist’s position today. In the discussion, Yuge Kurt emphasised the choice between different media and the question of when a work truly needs technology and when it becomes merely an effect.
Authorship was another important part of the conversation: how to evaluate a work in which handwork, print, software, and generative processes meet, and how important it is to show the viewer which part of the work came about in which way. The discussion also touched on a broader question: does technology open up more international opportunities for artists, or, on the contrary, does it concentrate creative infrastructure even further in the hands of a few large platforms?
This discussion matters because AI was examined here not as a passing technological trend, but as a phenomenon that is already changing how we understand creativity, law, the market, and authorship.
Meta title: Yuge Kurt Key Projects: Exhibitions from 2023 to 2026
Meta description: Explore Yuge Kurt’s key projects, from ANTI/FRAGILITY and Baltic Bridges to I Am Plural at the Vytautas Kasiulis Art Museum, where painting meets technology.