For this triennial, which unfolded throughout the entire Contemporary Art Centre, Ozarinskas designed the exhibition architecture, giving each wall of the building a ‘shadow’ – a wall of identical dimensions, only black. In these black plastic partitions, the texts of one of the exhibition’s artists were cut out as perforations – a technique similar to the one used in the interior of the bar Neperšaunama liemenė, where a decade earlier the poetry of Rolandas Rastauskas had been written in Morse code.

– Virginija Januškevičiūtė

In 2005, Ozarinskas designed the exhibition architecture for the 9th Baltic Triennial in collaboration with Raimundas Malašauskas, one of the curators of the exhibition. The exhibition had dozens of names instead of one and explored black markets, shadow phenomena and the ecology of secrets – everything that resists the tyranny of transparency and visibility. Their starting point was an idea proposed by the philosopher Jalal Toufic that a straight line could become the deepest labyrinth. The exhibition floorplan was additionally informed by the notion of ‘shadow walls’ and a map of the CAC that depicted the grid of geo-energy ‘lines’ found at the venue, drawn for the Triennial by the artist Artūras Raila. Opaque black plastic partitions were perforated with mysterious dates and place names punched through the plastic (it was a part of an installation by the artist Melvin Moti, which documented the biography of a ghost who has been popular in spiritual seances for several centuries). The shimmering lettering suggested that the exhibition space continued behind the ‘wall’, but there were no demarcated passageways between one space and another, and so the audience had to force the plastic curtains open to pass through.

– Virginija Januškevičiūtė, ‘Exhibition Design’, in Architect without Architecture? A Retrospective of Valdas Ozarinskas: exhibition guide, ed.: Virginija Januškevičiūtė, Vilnius: Contemporary Art Centre, 2018, p. 34–35.