The MOrka Gallery, a "socio-cultural performance by Evaldas Janss" that operated in the basement of the Pavilion in Vilnius and in the virtual spaces from 2020 to 2024, was famous for "presenting the work of alternative, outsider artists" (from the company's FB posting). Conceived as an alternative and a jab at the nearby MO, MOrka successfully invaded the museum's hall once, and was indirectly presented in the exhibition Vilnius Poker (2023), curated by Oskaras Koršunovas. Jans, who creates paintings, sculptural objects, spatial installations, performances, films, documentaries, and literature, in his artistic practice, eradicates the distinction between art and life, nature and culture, self and others. His work is characterised by a painful and brutal transgression - a violation of order, an acting beyond the boundaries of common sense. Jans seems to prefer becoming to identities. "MOrka offered the possibility of becoming with others. A large company was formed. The paintings, drawings, photographs and video projections on display were sometimes obscene, the hybrid objects and installations threatening, the body and material actions and performances dangerous to health. Alternative rock concerts shook the walls. The gates of hell repeatedly opened in the pavilion's basement. Among the gallery's artists are famous contemporary artists (Aidas Bareikis, Jurga Barilaitė, Ramūnas Danisevičius, Žilvinas Kempinas, Arūnas Kulikauskas, Darius Mikšys). MOrka used to present their works at the Art Vilnius fair together with the works of little-known young artists.

MOrka closed down, but it is still going strong. It prefers the model of memes rather than in memoriam. According to their inventor, Richard Dawkins, memes - cultural replicators, units of information transmission - are etymologically related to Gr. mimesis (imitation), Eng. memory (memory), French même (same). He proposes that memes should be seen as living structures analogous to viruses, active intentional entities striving to survive. Memes can be selfish and ruthless, and tend to aggregate and form systems. One of the secrets to the power of memes is replication error. Today, the collective imagination is most irritated by the internet memes spreading in social networks - symbiotic video and text messages, usually composed of stolen and original elements.

The video documents of MOrka's activities are spread like replicators by means of various "machines", in this case Jans's solo exhibition in the halls of the LDS Gallery. Starting with a painting ("Gnaw a Carrot"), "MOrka" remains in a sense post-internet, post-digital in Janss's paintings. By painting an altered version of a selfie, a popular social media or reportage photograph, combining image and text, Janss repeats and deconstructs the structure of memes and the mechanisms of replication. He often paints on a photographic canvas, where some kind of sonic product - a diagram or an advertisement - is already printed. Apart from self-portraits, he is also interested in the theme of the destruction of ecosystems, the realities of the animal world, the Statue of Liberty facing Apollo, and the reportage of an amphibian from an art temple. The motif of mushrooms is particularly persistent. The mushroom becomes an opinion-maker. Fungi are intermediaries, the missing link not only between plants and animals, but also between genes and memes. Among their other well-known activities, they occupy the brain's gene caches and are actively involved in the metabolism of memes.