Destruktyvioji meno recepcija: vandalai ar šiuolaikiniai ikonoklastai?

LTStraipsnis skiriamas recepcijos sociologijai - sudedamajai dabartinių meno tyrimų sričiai. Nagrinėjant meno kūrinių funkcijas ir vaizdo kultūros reiškinių poveikį visuomenei ir jos grupėms, kolektyvinei savimonei ir sąmoningumui, svarbu suvokti socialinius, istorinius bei ideologinius meno funkcionavimo kontekstus ir išsiaiškinti šiuolaikinio meno recepcijos galimybes. Taikant meno sociologijos prieitis, aptariamos destruktyviosios Lietuvos meno recepcijos apraiškos, dažniausiai viešuose aptarimuose vadinamos vandalizmu. Destruktyviosios meno recepcijos pobūdį siekiama įvardyti pasitelkiant "modernaus ikonoklazmo sąvoką". [Iš leidinio]Reikšminiai žodžiai: Meno recepcija; Šiuolaikinis ikonoklazmas; Taktinis vandalizmas; Art reception; Contemporary iconoclasm; Tactical vandalism.

ENThe sociology of reception is a constituent part of research in contemporary art. When examining the functions of artworks and the effect of the phenomena of visual culture upon society and its groups as well as upon collective self-consciousness and consciousness, it is important to perceive the social, historical and ideological contexts of the functions of art and to clarify the possible receptions for contemporary art. Therefore, this article uses the approaches of the sociology of art in order to discuss the manifestations of destructive reception of Lithuanian art that are ofien referred to as vandalism in public discourse. The concept of modern iconoclasm has been invoked in an attempt to describe the nature of the destructive forms of artistic reception. The contemporary Swiss art historian Dario Gamboni was one of the first to adopt the concept of iconoclasm when examining contemporary cases of art destruction. Iconoclasm is usually described as a collective and organized form of the destruction of art and cultural objects that has a clear program of actions; it is based on political, cultural, aesthetical, artistic, religious or other reasons. Thus, iconoclasm can be political, aesthetical, etc. The cases of tactical vandalism - manifestations of "conscious tactics" planned in advance - can be seen to correspond with the paradigm of iconoclasm, while in most cases the term of "vandalism" is applied to the situations when damage is done to artistic and cultural objects by solitary persons. The ambiguous nature of the first gesture of attack and its lack of conceptualization does not allow for the act of vandalism to be legitimised as a manifestation of aesthetical and political iconoclasm; most likely, it should be referred to as tactical vandalism.Traditionally the authenticity of the artist is associated with disconcertment, originality, sincerity, gentleness, seriousness, rationality and inspiration. Those criteria are applied to the domain of sacral art and profane spaces differently. For the participants of the art scene, originality and inspiration bear more importance, while in the sphere of artistic consumption, the criteria of honesty and rationality are most relevant. When applying the criteria of rationality, contemporary art is treated as stupid, nonsensical or absurd. The contents of contemporary "art" are seen as absurd and meaningless while its form and expression, as disgusting. Its opponents maintain that such art does not require artistic mastery or technical knowledge, while the material used to create art is "not artistic" and repugnant. Its creators seemingly lack honesty and aim only at provoking negative emotions in the viewer. The authenticity of the artist is called into question by arguing that such art can be created by anybody and one does not even have to be an artist. Having examined the second case of vandalism, the conclusion is made that the event has an iconoclastic program of actions (organized, collective, etc.). In the case of the third attack, it is claimed that, even in the absence of information regarding the number of participants, their program and objectives, the conceptual political nature of the attack allows us, with some reservations, to name the event as a socially legitimated manifestation of political iconoclasm. [From the publication]