Vinco Kisarausko kūrybos kontekstai

LTStraipsnyje siekiama įkontekstinti Vinco Kisarausko menines idėjas, koncentruojantis į šio dailininko kūrybos paveldo tyrimui parankių teorinių instrumentų paiešką. Nagrinėjami du pagrindiniai diskursai. Konstruktyvios tapybos diskursas, kurį Lietuvoje pirmasis pagrindė dailininkas ir menotyrininkas Vytautas Kairiūkštis ir kurio palikimo analizės pagrindu Vincas Kisarauskas įžvelgė imanentinės modernizmo raidos sovietinio režimo sąlygomis strategijas. Kritinės meno geografijos koncepcijos diskursas leidžia įžvelgti Kisarausko kūrybos analogijas su Vidurio Europos komunistinio laikotarpio daile per turinio problematiką ir hibridinį kūrybos modelį, taip pagrindžiant meninių idėjų iš Vakarų sklaidos ir recepcijos mechanizmus Vidurio Europoje. [Iš leidinio]Reikšminiai žodžiai: Modernizmas; „Realizmas be krantų“; Kisarauskas; Kairiūkštis; Nonkonformizmas; Vidurio Europa; Popartas; Hibridas; Naujasis figūratyvas; Kritinės meno geografijos koncepcija; Modernism; Realism without shores; Kisarauskas; Kairiūkštis; Nonconformism; Central Europe; Pop art; Visual hybrid; New figurative; Critical art geography.

ENIn 1962 the Lithuanian artist Vincas Kisarauskas (1934–1988) held his first personal exhibition at the club of the Writers’ Union of the USSR (at that time). Later, in 1997, this exhibition became a reference point used by creators of “quiet modernism” to start the discussions about the nonconformist discourse in the Soviet period. In this "quiet modernism" discourse Kisarauskas’ works are treated as a manifestation of an artist’s nonconformist stance against official socialist realism in art. According to "quiet modernists" the adverse position of Kisarauskas is mostly reflected via the expressionistic concept. Raising existential questions and dramatising the emotional side of plastic language – these are the typical features characteristic of his creative work. This article aims at deconstructing the allocation of Kisarauskas’ works to nonconformist discourse as well as discussing Kisarauskas’ artistic ideas in the contexts of both Lithuanian modern art and Central European art. By pursuing this analysis the main focus is on searching for theoretical tools, which could be employed to analyse and contextualise Kisarauskas’ creative work in a geographically broader art context of the Soviet period. This article reflects the two dominating modernistic thought concepts which existed in the Lithuanian Soviet art as of the seventh decade of the 20th century, i.e. the coexistence of expressionistic (based on emotion) and constructivist (based on conception). Both of them were created by different cultural contexts or discourses. The expressionist (or realistic) concept of art was developed within the framework of modernist art tolerated by the Soviet regime. This concept corresponds with the concept "realism without shores" by the French Marxist philosopher Roger Garaudy.Kisarauskas’ works could be also attached to another constructive thought concept which has been developed on the basis of the analytical research of Vytautas Kairiūkštis’ artistic heritage and Polish vanguard ideas of the early 20th century as Kisarauskas was very familiar with the Polish art scene of that time. This research reveals the extraordinary importance of Kairiūkštis’ ideas in the development of immanent modern art in the seventh decade of the 20th century. Above all, this research offers a rethink of the significance of Poland as a highly important cultural centre for the Lithuanian Soviet art scene. With the aim of creating new context for Kisarauskas’ artistic ideas, this research is based on the concept of critical art geography. The concept enables a determining of the close analogies between Kisarauskas’ creation and the search pursued by Central European artists under Communism conditions. The conceptual thought of Kisarauskas, his works reflecting the environment as well as the specific historical and political reality of a human being encourage one to look for analogies with the "new figurative" discourse, whose roots stem from the Central European art heritage of the communist period. [From the publication]

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