Augustina Lavickaitė. Visual research and storytelling.
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Information Smuggling (2023)
Multimedia installation
— autonomous

Salone del Mobile, Milan
Young Designer Award, Vilnius
The installation delves into the media ecosystem of illicit publishing and dissemination of information as acts of resistance against russian oppression and cultural erasure in Lithuania. Filmed in the forest borderlands between Lithuania, Belarus, Poland, and Kaliningrad, the work employs diverse modes of witnessing – via the landscape, historical narratives, and the viewer’s perspective – to position the terrain as an active participant, facilitating the smuggling of information.
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The Fates (2025)
Multimedia installation
— autonomous

Multimulti, Rotterdam
Referencing the myth of the Fates, who wove the destinies of mortals, the project reflects on how the spaces and conflicts we inherit shape the threads of our lives. Through moving image and print, Lavickaitė searches for sediments of history, observing how gestures, objects, and terrains record what has been.

Filmed in Dzūkija, a forested region in southern Lithuania saturated with histories of resistance and occupation, the video follows a figure guided by yarn as they attempt to untangle it. Here, inherited spaces are knots that need to be untied and tied again in order to be understood. On the other wall, fragile textiles are engraved onto steel plates, turning unintentional documents of daily life into permanent monuments.
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Dunes, reconstructed (2024)
Multimedia installation
— autonomous

Domestic Data Steamers residency
Exhibition website

A strip of sandy terrain, at times only 400 meters wide, separates the Baltic Sea from the Curonian Lagoon. This sand houses myths, legends, and songs of longing and belonging within a desolate landscape – from towns buried under the dunes to meticulously planted forests designed to anchor the shifting sands.

Is a landscape defined by its physical form, or by the songs written about it, the myths told to explain it, and the maps drawn to claim it? The project deconstructs the Lithuanian seaside through its mediated forms and reassembles it from scratch. Peeling back layers of symbolic intervention, we uncover not just a place, but a testament to the ways we shape and are shaped by the terrain.

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Oh - To Be Instituted (2025)
Multimedia installation
— commission

Design Biennale Rotterdam 2025
Art Rotterdam 2025 The Actual Main Institute (TAMI) is a range of imagined cultural institutions – from public museums to research departments, and art galleries. TAMI investigates what defines a valid cultural context by turning around the order of supply and demand between practitioners and institutions. "Oh – To Be Instituted" brings to life three fictional institutions based on the hopes and frustrations of Rotterdam’s artists and designers. The TAMI showroom presents a catalog of alternative institutional realities, materialised in facade costumes and invented histories.

The project is generously supported by Stimuleringsfonds and Gemeente Rotterdam. The Actual Main Institute in collaboration with Maren Bang.
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Cafaberry coffee bars
Branding and creative strategy
— commercial

Website
Instagram Cafaberry makes coffee chocolate bars from the entire coffee cherry – bean and husk – repurposing what is usually discarded. This approach reduces waste, creates extra value for farmers, and delivers a convenient product without losing flavour. As part of the core team, I worked with the founders and Anže Petelinšek on the brand strategy and communication: website, social media, interviews, pitch decks, and photoshoots.
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Citizen’s Assemblies (2024)
Multimedia installation
— commission

Bundeskunsthalle, Bonn
Kunstgewerbemuseum, Dresden Every aspect of democracy has been designed, therefore it can be designed differently.
For the exhibition All In! Redesigning Democracy, the Bundeskunsthalle and the Kunstgewerbemuseum have commissioned two citizens’ assemblies. Thirty five randomly selected citizens came together to develop a list of recommendations on how the museums could become more open and inclusive. Together with videographers Karnik Gregorian and Uwe Wröbel, the process and the outcomes of the citizens’ assemblies were processed into an artistic multi-media installation. Both host institutions have committed to implement the citizens’ recommendations or react to them in another appropriate way.

In collaboration with Studio Folder, Jennifer Carniel, Susanna Tomassini, and Louisa Wolf.
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Conspiratorial Status of Iodine (2022)
Installation, metal and print
— autonomous
Years of imposed Iodine deficiency and the fear of nuclear power plant emergencies have made Iodine a household name in post-Soviet Lithuania. The installation uses the element as a lens to explore fear, misinformation, and political history intertwining as a scientific material becomes charged with suspicion and superstition. Combining found footage, archival fragments, and scientific measurements, the work traces how facts dissolve into myth and how the search for order and blame gives rise to conspiracies.
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GGACHI kimchi
Branding and creative strategy
— commercial

Website
Instagram GGACHI produces small-batch kimchi using a traditional Korean recipe and local ingredients. Handmade and naturally fermented, the products highlight cultural continuity and community.

I developed the brand identity around the ggachi (magpie), a sharp and mischievous figure that embodies the character of the spicy products. This personality guides the visual identity and tone of voice across all touchpoints.
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Thesis: Information Smuggling (2023)
Print publication, 134p.
— autonomous
The thesis investigates repeated acts of resistance carried out through the underground partisan press in Lithuania, examining the media ecosystem – infrastructure, people, networks, and terrain – that enabled it. It traces how the forest functioned first as a tool and later as evidence of resistance.
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Permanent Theatre (2022)
Publication, 61p.
— autonomous

Boijmans van Beuningen Depot,
Rotterdam, The Netherlands Permanent Theatre addresses issues of permanent exhibitions in museums and archives: limited visits and low returns. The project proposes a tool – a booklet – for embracing and observing the performative dimension of such spaces. During the first visit, the visitor becomes an actor within the scripted environment of the exhibition; on the second, a spectator, as others take the stage.
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Last updated October 2025