Sovietmečio atminimo erdvės: menas ir memuarai

LTStraipsnyje apžvelgiama teorinio kolektyvinės atminties diskurso raida ir jo kontekste nagrinėjamos sovietmečio atminimo strategijos, pasitelkus dvi savitas erdves - šiuolaikinį Lietuvos meną ir su daile susijusių žmonių memuarus. [Iš leidinio]Reikšminiai žodžiai: Valentinas Antanavičius; Konstantinas Bogdanas; Funkcinė ir saugomoji atmintis; Istorija; Kolektyvinė atmintis; Kultūrinė atmintis; Liekanos; Medijos; Atsiminimai; Metonimija; Sovietmetis; Tapatumas; Lionginas Šepetys; Šiuolaikinis menas; Collective memory; Contemporary art; Cultural memory; Functional and preserving memory; History; Identity; Media; Memoir; Metonymy; Relics; Soviet epoch; Soviet period.

ENFollowing the reestablishment of independence, the Soviet period that officially acquired the status of an illegitimate past was deservedly condemned to silence and oblivion. Among the first ones to take interest in the Soviet past in the 1990 s were a new generation of artists (Deimantas Narkevičius, Gintaras Makarevičius, Audrius Novickas, Algis Lankelis, Eglė Pukytė and others) using various strategies of the art of memory: metonymy (finds, relics, and traces); site-specific projects; socialist-realist monuments and specimens of art forming the basis and the theme of an artwork; archives and their media as the material and form of an artwork; bodily memories; oral history. Memoirs and autobiographies of people in the field of art appeared only after zooo ; these traditionally are devoted to the needs of the author's legitimization, representation and identity. Some authors (e.g., Lionginas Šepetys, Minister of Culture of the former Soviet Socialist Republic of Lithuania, Secretary of the Central Committee of the Communist Party of Lithuania, and Konstantinas Bogdanas, Member of the Board of the Artists' Union of the Lithuanian Soviet Socialist Republic, in the form of a conversation with themselves across the distance of time, attach a heroic meaning to their deeds, while others (like the artist Valentinas Antanavičius) attempt turning traumas into symbols. Based on the dialectical distinction between storage memory and functional memory drawn by the literary theorist Aleida Assmann, the memoits under discussion could be classified as belonging to the realm of functional memory, as they concern the individual who is trying ro link the past with the present and future, ro sort out what to remember and what to forget and to convey values that detetmine the identity and behavioural norms. [From the publication]