Kalbiniai diskursai meniniame (pa)tyrime ir kalbančio menininko vaidmenys

LTStraipsnyje aptariama kalbinių diskursų plėtra šiuolaikiniame mene ir meniniame tyrime. Teigiama, kad toks sakytinių ir rašytinių formatų paplitimas vizualiuosiuose menuose yra susijęs su pokyčiais platesniame gamybos lauke, konceptualizuotais filosofo Paolo Virno postfordistinio darbo teorijoje, – kai komunikacija, interakcija ir kalbinės paslaugos tampa reikšmingesnės už patį produktą. Iliustruojant pavyzdžiais iš Lietuvos meno konteksto, glaustai analizuojama, kaip, išaugus kalbos reikšmei, keičiasi menininko tapatybė ir kokius naujus vaidmenis jis įgalinamas atlikti. [Iš leidinio]Reikšminiai žodžiai: Gamyba ir veiksmas; Kalba; Performatyvumas; Menininko vaidmenys; Production and action; Language; Performativity; Roles of the artist.

ENThe article deals with the spread of lingual discourses in the field of contemporary art and artistic research. Pointing at the expansion of various lingual formats in the arts that are traditionally taken for visual, the author aims to show how they become a fundamental form of artistic research and its distribution and thus encourage artists to take on new roles. The article builds upon the theory on post-Fordist labour by the philosopher Paolo Virno, who maintains that contemporary production has become more akin to what was traditionally seen as action. Post-Fordist production, as a process, is characterised not by a stable product as its main goal, but rather by public cooperation, unpredictability and self-sufficiency. Among the traits of contemporary production is its lingual nature: once a speechless activity, now it became a talking one, with the apparatus of linguistic services and inner communication constantly growing up. Art, once a prime example of production, also employs lingual formats. Contemporary artists are forced to become virtuoso talkers, as language becomes nearly the only way to preserve those art projects that do not have an end-product. It also empowers art as research and enables the artist to take on different roles (next to producer), such as researcher, experiencer, educator, writer, public intellectual, and organizer. With the decay of difference between labour time and leisure time these roles stop being collateral to artistic practice and rather serve as a part of it. And vice versa, lingual formats open the door for the artistic practice to intervene in other discourses: academic, political, or public. Brief illustrations from the context of Lithuanian contemporary art give a clue how these roles function and intertwine producing the identity of contemporary artist, the main product of her/his artistic practice. [From the publication]