Apie Rolando Rimkūno kūrybą: tai, kas dedasi mumyse, taip pat yra visatos dalis

LTStraipsnyje aptariama kauniečio menininko Rolando Rimkūno kūryba, pasitelkiant kontekstinį-biografinį modelį ir derinant biogramos, laisvos formos interviu ir dailėtyrininko postinterpretaciją. Remiamasi prielaida, kad norint perprasti Rimkūno kūrybą tokia kontekstinė prieiga yra adekvatesnė nei sausi menotyriniai išvedžiojimai. Taigi šio teksto pirminei struktūrai didelę reikšmę turi paties Rimkūno pasakojimai, paaiškinimai ir patikslinimai. Vis dėlto, net aptariant Rimkūno kūrybą tokiu „betarpišku“ aspektu, galima išskirti tam tikrus kūrybos bruožus, kuriuos dailėtyrine prasme galima būtų apibūdinti kaip savitą kritinio regionalizmo atšaką. [Iš leidinio]Reikšminiai žodžiai: Kauno menininkai; Rolandas Rimkūnas; Piešiniai; Grafika; Kontekstinis požiūris; Kritinis regionalizmas; Kaunas` artists; Rolandas Rimkūnas; Drawings; Graphic art; Regional criticism; Contextual view.

ENThe article discusses the works of the Kaunas’ artist Rolandas Rimkūnas through the specific means of contextual view. Preferential attention is focused on Rimkūnas’ biography that is seen in terms of the larger cultural, social and historical contexts. The author of this article argued that such "biographical-contextual sketch" structure of an article reflects the works of Rimkūnas better than any complicated formulas of art criticism. Rimkūnas creates drawing or graphic cycles which derive from the real life situations of more complex existential circumstances. So the author tries to look at the works of Rimkūnas "phenomenologically" – to look at the drawingcycles in the context of his "life-cycles". Some of the more important features of Rimkūnas’ intellectual and creative biography are also discussed. In this case Rimkūnas’ tellings and explanations (conversations with Rimkūnas) have become very important. However, the art of Rimkūnas includes certain features. Mostly the artist draws using biros or felt-tips. According to Rimkūnas, this technique of drawing is the easiest way to create his visual diaries. We could perceive Rimkūnas’ art as a specific kind of critical or local regionalism. This article presents Rolandas Rimkūnas as an ironic moralist in the (global) tradition of the works of William Hogarth, Francisco Goya, Honoré Daumier, The Peredvizhniki (Wanderers), Jaroslav Hašek or Pupų Dėdė. [From the publication]