Parodos architektūra: tarp re

LTStraipsnyje, remiantis užsienio parodų architektūrą tiriančių teoretikų darbais, nagrinėjami pastaruoju metu Lietuvoje veikusių stambių laikinų parodų architektūros ir dizaino sprendimai. Analizės ašis – paroda kaip žiūrovo, erdvės ir objekto (eksponato) sąveikos laukas, leidžiantis konstruoti institucijos tapatumą, padedantis atskleisti skirtingus ekspozicijos sluoksnius. Klausiama, ar architektūra gali tapti dar vienu retai Lietuvos meno parodose naudojamu, bet būtinu parodos kūrimo įrankiu, kaip architektūra gali ir turi padėti atskleisti kuratoriaus sumanymą, sukurti vis kitas naujas parodos temos prasmes, o gal ir tapti pasakojimo ašimi. [Iš leidinio]Reikšminiai žodžiai: Parodos architektūra; Identitetas; Patirčių erdvė; Totalinė instaliacija; Exhibition architecture; Identity; Space of experience; Total installation.

ENThe article analyses the architecture and design solutions of recent large temporary exhibitions in Lithuania, using tools of foreign art theorists and investigating the architecture of exhibitions. The exhibition is comprehended as the field of interaction of three components – the viewer, who comes to acquire experience and knowledge; space, which provides new experience and in essence represents institution; and object, which contains information and is the belonging of the institution being removed from its natural context. The exhibition is presented as a total (S. Mulder’s term) installation, impacting on all senses of the viewer. The article raises the question of whether the exhibition architecture could become another still rarely used but essential tool in creating the exhibitions? How could and should the architecture help to reveal the idea of the curator, create different new meanings of exhibition theme, or even become the central axis of the narrative? Using brief historic and theoretical analysis of exhibition elements, the article draws attention to the level of controlling the viewer’s movement in the space, the role given to the viewer and the relationship between object, entertainment and information. The article states that adding additional meanings to the theme, the roles of viewing, participating and analysing given to the viewer and the provided or restricted freedom of the movement determines the attractiveness of the exhibition, the sequence of its comprehension, the ways of understanding and the emotional impact. Employing the theory presumptions established in the first part of the article, in the second part six temporary exhibitions, which were held at the National Gallery of Art’s (NGA) largest space for temporary exhibitions, hall No. 12, are analysed. The NGA was chosen as the art space in Lithuania which actively creates its identity.The selected collection of exhibitions illustrates the different strategic and conceptual organising and filling of space, along with indicating the limitless possibilities of architecture to arrange and structure the exhibitions. [From the publication]