Leviatano išlikimas: politinė ikonografija ir bjaurasties estetika vėlyvojo sovietmečio Lietuvos tapyboje

LTStraipsnyje vėlyvojo sovietmečio Lietuvos tapybos interpretacijai pamėginta pritaikyti Didi-Hubermano atgaivintą metapsichologinę Warburgo prieigą, grįstą vaizdų išlikimo (Nachleben) idėja. XX a. 8 - 9 dešimtmečių Lietuvos tapytojų kūriniuose ėmė kartotis nerimą keliantys, istorinio laiko pritvinkę milžinų ir minios motyvai, kuriuos dėl regimojo panašumo galima susieti su figūra Thomaso Hobbeso politinės filosofijos veikalo Leviatanas (1651) antraštės lape. Šis euristinis sugretinimas keičia požiūrį ir į siužetinę vėlyvojo sovietmečio dailę, ir į modernios valstybės pirmavaizdį. [Iš leidinio]Reikšminiai žodžiai: Vėlyvasis sovietmetis; Lietuvos tapyba; Šarūnas Sauka; Aby Warburgas; Georges'as Didi- Hubermanas; Late Soviet times; Lithuanian painting; Šarūnas Sauka; Aby Warburg; Georges Didi-Huberman.

ENIn this article the metapsychological Warburg approach resurrected by Didi-Huberman and based on the idea of image survival (Nachleben) is applied to the examining of Lithuanian painting of late Soviet times. In his study Vintage survivante. Histoire de l'art et temps des fantömes sehn Aby Warburg (2002), Didi-Huberman associates survival with the formation of symptoms (Symptombildung) described by Freud, due to which the past is belatedly recognised as a traumatic event. The Survival model is not a model of appropriation or influence: the appearance of a previously existing form without any explanation would be the true survival of it. A surviving or continuing to exist form (type of image) does not have the point of its beginning; the necessary condition of the survival of images is their disappearance and they often return from their exile changed and degraded and now they are influential and distressing foreign bodies in the depiction system. Another condition of survival is action, movement and agility, which are connected to the timeframe found in an image. The motives of monsters, giants and crowds - crush, influx or march - anxiety building and brimming with feeling of the times, started to appear in the works of Lithuanian painters in the period from 1970-1990. Their visual similarity allows them to be compared to Leviathan - body of state of anthropomorphic form, made up of masses of tiny people, which can be found in the etching of the title page of Thomas Hobbes' philosophical work Leviathan (1651).This heuristic comparison modifies the opinion on the figurative painting of late Soviet times and the primary image of the modern state, which, according to Horst Bredekamp, was an effective ruling tool. The aim of joining power and the existence of society or to construct the existence of society as power in the figure of Leviathan does not seem to have been completely successful. Compared to the symbolic body of a ruler - perfect, complete and constant - this construction can be described as transgressive and unstable; aesthetically, it belongs not with the heavenly greatness and noble grace, but with ugliness and horror. To see this and also to consider whether images are needed in politics at all, allows the hypothetical survival of it, its transformation in art - the versions of this agile, ugly and fragmented figure. The hypothesis of survival also highlights the political connotations of images of late Soviet Lithuanian paintings which should be attributed to the area of deliriums, hallucinations and other processes of the subconscious. The notions of survival and anachronism are better suited than the notions "postmodernism" or "turn to history" to examine the retrospectiveness of these paintings. The researcher, using this approach, joins the viewers, but not the artists, and often only the present allows the researcher to see the attributes of survival. The wish to uncover these particular types of images in the late Soviet paintings was mostly driven by the present state of 21st century Lithuania - the constant displeasure of Lithuanian citizens with elected governments and the extensive exodus of people from their free democratic homeland.[...]. [From the publication]

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