"Atlydžio" žurnalistika ir Adaukto Marcinkevičiaus fotografijos estetika

LTReikšminiai žodžiai: Fotografija; Estetika; Photography; Aesthetic.

ENApplying the term of destructiveness, the article focuses on the features of aesthetic paradigm in photography during the period of the Khrushchev’s Thaw, when a new, good quality expression appears, or an illusion of renovation of the visual language is created, loosening, if not destroying, the structure of communication practiced up to that time. One of the dominant forms of the language and image in the cultural press of this period (social and political journalism) signifies the time of reformation, when the dissociation and certain liberation from the functioning dogmas is implemented with “soft” means. The style of social and political journalism enables to place the open and hidden codes of meaning in writings and illustrations of the time, to sow the seeds of scepticism amidst the prevalent heroic optimism. The archives of photographer Adauktas Marcinkevičius (1936-60) have been taken as a basic source for the contextual analysis. The photographer’s works, considered innovative at the time, reflect a breaking point in Lithuanian photography and general transformation of the cultural values. The name of Marcinkevičius is associated with an important period in Lithuanian photography: he had not only taken part in the general processes of political-cultural transformations, but also torn out photography from the socialist realism legitimizing the artistic documentalism. The photographer’s aesthetic destructiveness has two layers, one of which correlates with the transformation of values of the epoch, and the other, hidden and non-articulated even on the level of his self-reflection, unconsciously bursts out in the photographs.The artist’s individual motivation, which influenced his photographic viewing of the world, is revealed in the aspects of erotic heresy and death fetish. Due to overcoming his internal conflicts, raising maximum requirements to himself and recklessly sowing the seeds of idiefixe in the cultural soil, frozen over the winter of Stalinism, Marcinkevičius should be ascribed to the ranks of those reformers, who shook up the foundations of the soviet ideology with their destructive thinking and acting. Matters that were supposed to be unanimously decided and accepted, were split into a variety of opinions, behaviours, tastes, interests and styles. Adauktas Marcinkevičius’ first steps towards the individuality (from an anonymous to co-author in journalism and from a reporter to artist in photography) were turned into a multi-trend unstoppable movement just in a few years. [From the publication]