Agnė Bagdžiūnaitė is a curator, artist, and researcher based in Lithuania, whose practice explores memory, labour, post-Soviet transformation, and the relationship between personal narratives and broader political and social histories. Working across performance, archival research, oral history, publishing, and curatorial practice, she is particularly interested in invisible or overlooked histories, women’s experiences, and the ways ideology, nostalgia, and economic change continue to shape everyday life.
She is currently pursuing a PhD at the Faculty of Philology at Vilnius University. Her doctoral research focuses on Soviet discourses of modernist progress through the case of the Kaunas Hydroelectric Power Plant (KHE), combining critical discourse analysis and postcolonial theory. The project examines how large-scale infrastructural development was framed as a symbol of progress, mastery over nature, and national unity, while simultaneously obscuring its social and ecological consequences.
Alongside her academic work, she works at SODAS 2123 as a curator and coordinator of the international residency programme, developing residencies, exhibitions, and discursive programmes with artists and researchers from Lithuania and abroad. She also coordinates the Emerging Curators’ Platform, a professional development programme focused on the practical aspects of contemporary curatorial practice, supporting emerging curators through collaborative research, exhibition-making, and hands-on experience in cultural production.
In parallel, she curates and runs Avietė, an independent project space located within the marketplace area of Žaliakalnis in Kaunas. Through exhibitions, performances, and research-based projects, the space focuses on local histories, peripheral cultural narratives, and experimental contemporary art practices.
Her projects often combine long-term research with collaborative and site-specific approaches, bringing together archival materials, live performance, text, and community-based methodologies. Through her work, she examines how historical and political change becomes embedded within language, bodies, domestic spaces, and collective memory.
Imaginary archive 