Szczeliny pamięci obrazom

• Lenkų kalba / Polish
• Anglų kalba / English

ENThe myth of photography, debunked by the theorists of the later twentieth century,1 no longer seems to fool anyone. It has been drilled into our heads that the evaluation of a fragment of photographed reality depends on the position of the subject that sees it. If you are interested in art, you will find aesthetic expression; if you are interested in a historical document, you will find the facts - in the same image. When the historical perspective changes, art begins to bear witness. And vice versa - portraits that were only meant to confirm identity become conceptual art. These transformations in photography promise intellectual adventures, but only until the problem of collective responsibility arises. The camera’s ‘objectivity’ draws us - photographers, subjects, and perceivers of their work - into the processes of history. The indictment of any of these actors for crimes, collaboration, or betrayal of their homeland forces us to renounce the greatest achievements of photography. Conversely, when historical facts get in the way, the desire of researchers and curators to discover new ‘lenses’ in photography prompts them not to ‘politicise’ photography and to see it for its aesthetic value alone. [Extract, p. ]

• Camera obscura : Lietuvos fotografijos istorija, 1839-1945 / Margarita Matulytė, Agnė Narušytė. Vilnius : Vilniaus dailės akademijos leidykla, 2016. 765 p.
• Neapykantos ribos: antisemitizmas Lietuvoje 1944-1990 metais / Justas Stončius. Klaipėda : Klaipėdos universiteto leidykla, 2022. 509 p.
• Nihil obstat : Lietuvos fotografija sovietmečiu / Margarita Matulytė. Vilnius : Vilniaus dailės akademijos leidykla, 2011. 384 p.
• Švystelėjo kaip meteoras : 1965-ieji su Simone de Beauvoir ir Jeanu Pauliu Sartre’u / Solveiga Daugirdaitė. Vilnius : Lietuvių literatūros ir tautosakos institutas, 2015. 270 p.