ArtVilnius is the largest contemporary art fair in the Baltic region and a unique platform for connecting the art scenes of Central, Eastern, and Northern Europe. In its aim to be universally democratic, it seeks to showcase a rich and diverse array of contemporary art. This year’s edition will take place from 1 to 4 October and will focus on three distinct art capitals – Vilnius, Warsaw, and Vienna – creating a space for dialogue between the cities, their histories, and experiences.
As the application process for ArtVilnius’26 is in progress, Contemporary Lynx magazine sat down with two key voices shaping this year’s edition: Sonata Baliuckaitė Arlauskiene, artistic director of the fair, and Marta Kołakowska, Warsaw-based gallerist and member of the ArtVilnius galleries selection committee. We asked them about the decision to focus on these three European capitals and their regional and global importance. Together, our guests seek to answer an important question: What is the main role of an art fair in today’s art world? Does its primary purpose focus only on facilitating market exchanges, or is its greater significance in fostering robust networks and communities across regional and global art scenes?
Sonia Witak: ArtVilnius has announced a special thematic focus for 2026 – VWV: Vilnius, Warsaw, Vienna. Why these three cities, and what does this triangle reveal about the current state of the Central European contemporary art scene?
Sonata Baliuckaitė: Each year, the fair presents a different thematic focus, developed in collaboration with invited curators. For this edition, the VWV focus in our Project Zone is curated by Neringa Bumblienė, a curator, author, director at Nida Art Colony of Vilnius Academy of Arts, and artistic director and curator of the Vilnius Biennial of Performance Art.
By choosing VWV – Vilnius, Warsaw, and Vienna – we wanted to discuss the role of these cities within art ecosystems and their geographical locations. Vilnius, Warsaw, and Vienna are capital cities where institutions, galleries, and collectors are concentrated. They function as hubs for both infrastructure and ideas.
However, it is equally important to discuss the broader landscape, including smaller cities and regions in Lithuania, Poland, and Austria, where interesting and sometimes radical processes are taking place. Thus, these three cities provide a springboard into a broader regional narrative about how art develops in different contexts.
Over the 17 years of ArtVilnius, we have featured various countries, including Poland. Vienna, though, has long been off our radar, partly because it has a strong and competitive art fair scene. However, given the current unstable economic and geopolitical situation, we recognise the need to collaborate rather than compete.
That is why, last year, we took a very concrete step: we reached out to the organisers of the Vienna Art Fair, introduced them to ArtVilnius, and invited their team to serve on the selection jury. This is a deliberate effort to foster dialogue in the region. We are continuing in this direction this year as well. Marta Kołakowska, one of the organisers of the NADA Villa Warsaw fair, is participating in the gallery selection jury. The exhibition The Path is curated by Aleksei Barysionak, a Vienna-based curator who has worked at art fairs for many years. These efforts demonstrate our commitment to reflecting on and actively engaging with the region through a network of professionals.
At the same time, we see that the situation of art fairs across the entire Central European region is in flux – fairs are changing formats, taking breaks, and seeking new models. In this context, we believe that ArtVilnius has found an operating principle that enables the fair to not only survive but also to grow consistently. We are constantly improving upon this principle and believe that we are needed as a stable, reliable platform for the entire region.
SW: Marta, as a member of the selection committee and one of Warsaw’s most recognisable gallerists, what do you look for when evaluating applications, and what makes a gallery stand out in the context of this year’s VWV focus?
Marta Kołakowska: The question about evaluation criteria is crucial, especially in the context of an event as specific as this year’s ArtVilnius. My perspective comes from repetitively finding myself on both sides of the selection process, both as a gallery applying to international fairs and competitions, and as a juror evaluating young artists or projects. I have had the opportunity to analyse proposals prepared by both renowned, well-established and entirely new galleries.
One significant issue for me is contextual awareness: do galleries know where they are applying and with what? It’s about the ability to situate the art being presented within the specifics of a given event.
I assume this year’s edition of ArtVilnius will differ significantly from previous ones, precisely because of this year’s focus: Vienna – Warsaw – Vilnius. The choice of these three cities creates a fascinating, though far from obvious, story. While this is not a chronological relationship in market terms, all three centres share highly developed art scenes, from the contemporary to the avant-garde of the last century. The early twentieth century was a turning point for each city’s scenes, though each carries a different experience. Vienna naturally has a considerably longer history of commercial market development. Warsaw and Vilnius followed an entirely different path.
To summarise: what matters most is an awareness of place and the substantive quality of the proposal. It must intrigue not only collectors and curators, but also wider audiences.
SW: Looking at the galleries coming together for the VWV edition, is there a conversation or tension between the three scenes – Warsaw, Vilnius, Vienna – that you’re particularly curious to see play out on the fair floor?
MK: For over a decade, the presence of galleries from Central and Eastern Europe at Viennese art fairs was extraordinarily strong and often constituted their main programmatic focus. That consistent and substantial representation, including from Poland, best demonstrates the need to integrate knowledge of others’ markets. Yet despite geographical proximity, we still knew relatively little about one another, and direct collaboration between galleries was not as visible as it could have been.
A particularly significant moment in building these relationships was a decade ago, the ArtVilnius ’16 Edition, when Poland appeared as the guest of honour. As many as twelve Polish galleries presented in Vilnius at that time, demonstrating the enormous potential lying dormant in regional exchange.
I believe this is precisely the role ArtVilnius is well-suited to fulfil. I see the fair not only as a sales platform but above all as a space for intensive networking. I hope that a lasting network of contacts will form between galleries from the individual countries, one that will help us collectively promote local artists on the international stage. ArtVilnius can be a crucial connector: a place that brings us closer to the somewhat distant East and allows us to delve deeper into the extraordinarily interesting art scene of our shared region.
The route that Vienna had been charting for years – inviting galleries from our part of Europe – is today clearly extending eastward. Warsaw has become a natural, solid link along that route, helping to shape a common artistic scene.
This process finds its intriguing conclusion in Vilnius. ArtVilnius today is the culminating point at which the energy of a region steps to the fore. It is no longer merely an imitation of Western models, but the construction of a genuine, authentic identity along the line between former centres and new, eastern ones.
ArtVilnius can be a crucial connector: a place that brings us closer to the somewhat distant East and allows us to delve deeper into the extraordinarily interesting art scene of our shared region.
SW: For galleries considering applying, what can they expect from ArtVilnius that they might not find elsewhere?
SB: Not only can galleries at ArtVilnius look forward to a professionally organised fair, but they can also look forward to a clear regional context. We operate in an unsaturated market with a genuine interest and openness to discovery.
The ArtVilnius venue also offers great exhibition opportunities. Located just 15 minutes from the centre of Vilnius, LITEXPO’s 12,000-square-metre indoor and outdoor space is Lithuania’s primary exhibition venue. The fair spans three halls and outdoor areas, offering flexible architectural layouts and efficient logistics. This year, we will select approximately 70 galleries to present artworks in customisable stands ranging from 30 to 50 square metres. Special conditions are available for emerging galleries, operating for fewer than three years, as well as for galleries from Poland and Austria.
The additional content we create — such as curatorial programmes, special projects, and thematic highlights — is also important. The content allows visibility for galleries not only commercially, but also conceptually.
We pay special attention to collectors. ArtVilnius attracts the most renowned collectors from the Baltic States and Europe, including Martin Kruus, Jānis Zuzāns, and Alain Servais. It also attracts a new generation of collectors that we consistently nurture. This creates a vibrant and diverse audience, ranging from experienced market participants to first-time buyers.
An important part of the fair is intensive networking. In collaboration with Lithuania’s leading art institutions and museums, we organise numerous events and a VIP programme with partners. These events create opportunities for natural connections to form between galleries, collectors, institutions, and curators. Curators from museums and contemporary art centres, as well as diplomats, actively attend the fair. ArtVilnius is financed by the Lithuanian Council for Culture, with the Vilnius City Municipality as its patron, as reflected in the booth pricing and the extensive programme.
Last year, 90% of participating galleries made sales – another reflection of this support. The fair attracts around 22,000 visitors annually in a country the size of Lithuania. One more key aspect is relationships: ArtVilnius is not a mega art fair, so it is still possible to forge genuine, long-term connections with collectors, institutions, and partners here.
SW: How do you see the role of ArtVilnius in connecting Central and Eastern European galleries today? Could it also become an interesting platform for Warsaw galleries looking to strengthen their regional presence?
MK: I have been observing the dynamic development of the Vilnius art scene for years. Institutions such as the MO Museum, CAC, and the National Gallery of Art, along with private galleries Meno Niša, The Rooster, Vartai, and Drifts, as well as the prestigious Rupert residency, together create the city’s diverse, international character. The Vilnius fair itself already has a long tradition. I participated in its first edition fifteen years ago and was enormously impressed by its professionalism even then. The Lithuanian scene’s undoubted breakthrough moment came with victory at the Venice Biennale in 2019. The prestigious Golden Lion award drew the eyes of the art world in another direction, toward a scene that felt remarkably fresh and powerful.
During that same period, Warsaw was developing differently, building its scene around the very fabric of the city. Warsaw Gallery Weekend was emerging in parallel, constructing the capital’s image as an art city through new galleries and by mapping Warsaw as a place where art is a pillar of culture. It is only in the last few years that activity in Warsaw has coalesced around fair events, such as Hotel Warszawa Art Fair and NADA Villa Warsaw, which this year is evolving toward the Art Warsaw format. Earlier initiatives, centred on the antique market, bypassed contemporary art entirely.
Fostering a new generation of collectors is a strategic and educational mission for us. The first step into the art market should not be a random purchase, but rather an introduction to the system – first and foremost, to galleries.
SW: ArtVilnius has made deliberate efforts to cultivate new collectors – from the Young Collector’s Stand to programming specifically aimed at first-time buyers. Is building a new generation of collectors a curatorial mission as much as a commercial one, and how do you see that shaping the fair’s long-term identity?
SB: Fostering a new generation of collectors is a strategic and educational mission for us. The first step into the art market should not be a random purchase, but rather an introduction to the system – first and foremost, to galleries. Galleries often become the first trusted partners, providing a space where one can ask questions, understand how the market works, and discover one’s own relationship with art. This is why ArtVilnius creates a space where new collectors can connect directly with artworks and galleries.
Initiatives such as the Young Collector’s Stand, selections and awards for the best galleries and works, educational programmes from art schools, and the ArtVilnius Talks stage bring people closer to the art world and show them where and how to look for it. This guidance is not just about what to buy, but also how to think about collecting. For example, last year we invited renowned art collectors Alain Servais, Jānis Zuzāns, Vita Liberte, Sergio Linhares, and M. and E. Kruus, who also participated in our ArtVilnius Talks programme.
ArtVilnius is also an important place where growing communities come together. New collectors are emerging here, and many young galleries and artists are waiting to be discovered. One of our key partners is the Vilnius Academy of Arts, which is presenting seven galleries at the fair.
Over the past 17 years, we have clearly seen the growth of young creators, galleries, and collectors alongside the fair. Over time, this shapes the fair’s identity: ArtVilnius becomes a place not only for trading, but also for beginning long-term relationships with art.
SW: In 2020, you kept ArtVilnius running while other fairs were cancelled. You did so on the belief that art must be experienced in person. Six years later, with a more cautious market and more sophisticated digital platforms, has that conviction held? What does it take to make a physical fair genuinely irreplaceable?
SB: In 2020, we decided to move forward based on the belief that art should be experienced in person. Today, we can say that this conviction has endured and proven correct.
Contrary to predictions, digital platforms have not replaced the live experience of art. In fact, there is growing recognition that the fair format is particularly important to contemporary collectors. A fair offers a concentrated, clearly structured environment where one can see a lot, compare, discover, and make decisions in a short time.
Fairs offer something no digital platform can: a live experience, direct contact with artwork, conversations with galleries, and the building of trust. Trust is crucial in the art market. For this reason, a physical fair is not an alternative to digital platforms; it is the central hub around which everything else enhances the experience. Digital platforms can help prepare for and maintain relationships, but the decision-making process most often still takes place in person.
Fairs offer something no digital platform can: a live experience, direct contact with artwork, conversations with galleries, and the building of trust.
SW: The global art market is navigating a period of economic caution, collectors are more hesitant, and galleries are feeling that pressure. How do you think about participation in fairs like ArtVilnius in that context — is it a strategic response to uncertainty, a way to maintain visibility and build relationships when the market is calmer, or does a fair with strong regional momentum actually help counteract that slowdown?
MK: For some time now, we have been observing a slowdown stemming from a general caution to which, given the geopolitical situation, we are particularly exposed. The truth is, however, that for years we have been getting accustomed to sudden reversals. The past decade has rarely given us the chance to operate in anything resembling calm, and that affects the restraint in decision-making, including the role of collectors. Even so, we have learned to live in difficult times, and art has become a kind of respite, which helps sustain the activity of our community and the bonds between us.
The art fairs themselves have gone through a serious crisis in recent years. I believe that excessively inflated participation costs frequently place galleries before a genuine existential dilemma. The right balance between outlay and the quality of the event itself is key. When costs are prohibitive, a destructive pressure is placed upon participants to focus exclusively on quick financial returns. That is a mistake. One that strips away the space for building deep connections, for the real development of galleries, and for the stable presence of artists in circulation.
I see the solution in the consolidation of local markets, particularly within our Central and Eastern European region. Examples include the newly established Riga Contemporary, and ahead of us lies the first edition of Art Warsaw, a natural continuation of NADA Villa Warsaw. I believe both ArtVilnius and Art Warsaw will make their presence felt on the international stage.
We must, however, draw painful lessons from the Viennese experience. Vienna set direction for decades, being home to historically important and progressive galleries such as Krinzinger and Christine König – galleries that have created a crucial bridge between East and West. Today, however, the Viennese fair model has evidently run its course. The fate of projects such as Vienna Contemporary and Spark Art Fair is a clear signal: events in our region cannot replicate their mistakes – their lack of flexibility, their disconnection from local realities. Though one must acknowledge that the beginnings of Spark Art Fair, brought into being by Renger van den Heuvel, had a genuinely pioneering character, built entirely around solo artist presentations.
If we do not commit to authenticity and mutual support, even the strongest tradition will not protect us. We need to stop approaching fairs solely from a transactional perspective. They are a platform for collectively shaping the field of art: from the exchange of exhibitions and residencies to the education of new audiences. It is precisely these aspects that will determine the durability and meaning of our shared initiatives.
In this context, it is worth asking a bold question about the future. For years, we have watched how commercial galleries assert their presence at the Art Biennale, visible through logos on the walls of national pavilions. What if the Biennale were cleared of this advancing commercialisation, and the fairs themselves were transformed into deep, curatorial presentations prepared by galleries? I think such a reversal of roles would be restorative for how we think about both events. I am aware that this is still a distant and costly road, but it is precisely in such a revaluation that I see hope for a new, healthier quality.
Who knows? Perhaps this edition of ArtVilnius, bringing together the experiences of Vienna, Warsaw, and Vilnius, will serve as a starting point for a conversation about new standards in the art market.
