Moteriškieji meno istorijos perrašymai XXI a. kuratorystės praktikoje Lietuvoje

LTMeno istorijos permąstymu ir (per)kūrimu grįstos parodos modelis yra vienas aktualiausių šiuolaikinės feministinės meno istorijos metodų. Moteriškoji kuratorystė šiame straipsnyje pristatoma kaip transformuotas istorijos (per)rašymo principas. Čia atskleidžiamos moteriškosios meno istorijos konstravimo strategijos per pastaruoju dešimtmečiu Lietuvoje kuruotas feministiškai angažuotas parodas. Ievos Dilytės, Laimos Kreivytės, Elonos Lubytės, Rasos Andriušytės-Žukienės ir kitų moterų kuruotose XXI a. pradžios parodose naudojamasi įvairiomis feministinėmis strategijomis: kuratorės revizuoja ir įterpia į nusistovėjusias istorijas savąsias/ subjektyviąsias versijas, ardo istorinius „universaliuosius" hierarchinius konstruktus, kritiškai analizuoja moters vaizdavimo Lietuvos mene stereotipus, suobjektinančius, idealizuojančius ar nuasmeninančius moterį, arba kuria būsimąją meno istoriją, į kurią moterys įrašomos kaip šiuolaikinio meno lauko dalyvės. [Iš leidinio]Reikšminiai žodžiai: Feminizmas; Moteriškoji kuratorystė; Paroda; Meno istorija; Istorijos perrašymas; Feminism; Female curator activity; Exhibition; Art history; Rewriting history.

ENDisplays of feminism in Lithuanian visual arts of the 1990s were rather sparse. Works of art analysing a woman's world and its problems were created and displayed in group and personal exhibitions, though no woman artist or group of artists chose feminism as a long-term conscious or politically minded creative thinking and acting strategy. The works of art with feministic features were often based on the artists personal story and experience, but didn't raise the essential questions of Western feminism, such as the position of the women-creator, feminine (as opposed to masculine) expression, a critique of the institutional politics of buying, displaying art and cultural export (representing abroad) in gender aspect, the questioning of creating women's image in classical and contemporary art. The position of prominent female artists of the end of 20th c. Eglė Rakauskaitė's, Jurga Barilaitė's, Laisvydė Šalčiūtės, Violeta Bubelytė's and others was grounded in reflection on personal experience and women's identity: the exploration of birth, puberty, maturity, motherhood and ones own body and allowed to adopt various methods analysing their work. Though feministic theories were present in the Lithuanian academic art discourse of the 1990s, women artists themselves avoided and even shunned the feministic tag, thus the methods of analysing their work also were indirect. Nevertheless, in the first decade of the 21st c. a regular and conscious feministic reconsideration of art history can be detected.[...].The article reviews projects by curators Laima Kreivytė, Elona Lubytė, Rasa Andriušytė-Žukienė, Ieva Dilytė and group/non-hierarchic curated projects (group Cooltūristės and temporary gatherings of artists for a single exhibition) and outlines the three prominent types of Lithuanian feminist curator activity of the beginning of the 21st c. The questioning and critique of art history and the principles of its formation and also a declaration of subjectivity (Last minute excursion into Lithuanian art, initiated by group Cooltūristės, 2010, an excursion conducted by Laima Kreivytė) and one of the Kaunas biannual exhibitions (RewindHistory, 2011, curator Rasa Andriušytė-Žukienė). The questioning of the stereotypical woman's image in arts, i.e. a critique of the power of gaze (exhibition "The Power of Gaze", curated by Ieva Dilytė (2007, Vilnius Picture Gallery of Lithuanian Art Museum and exhibition "Woman's Time: Sculpture and Film" curated by Elona Lubytė and Laima Kreivytė (2010, National Art Gallery, consultant - Giedrė Jankevičiūtė, documentaries chosen by film historian Živilė Pipinytė). The creation/construction of new art history, new art criteria and standards, and new general point of view (Project Mis(s)appropriation by group Cooltūristės, 2005, presented at the Kaunas biannual exhibition "Textile '05", and women artists' exhibition "PasiJOS" at the Architects' House in Kaunas in 2008 (both curated by Laima Kreivytė) and women artists' exhibition "Postldea", shown at several exhibition spaces in 2012 (Exhibition hall "Titanikas" of Vilnius Academy of Arts / Art Gallery of Vytautas Magnus University in Kaunas / Panevėžys City Gallery). [From the publication]