Tapatybės vaizdinių kaita ir integracija: šiuolaikinio lietuvių meno atvejai

LTStraipsnyje apžvelgiama, su kokiais vaizdiniais lietuvių menininkai integruojasi į europinio meno diskursą, pavyzdžiais pasitelkiant du ryškiausius autorius, kurie pripažįstami tarptautinėje meno scenoje, reguliariai kviečiami eksponuotis įvairiose užsienio meno institucijose, juos pastebi ir pasaulinė meno žiniasklaida. Tai - Deimantas Narkevičius, pradėjęs kurti Nepriklausomybės pradžioje (apžvelgiame jo kūrybą nuo 1993 m.), ir po 20 metų susiformavęs Neringos Černiauskaitės ir Ugniaus Gelgudos duetas "Pakui Hardware". Remiantis trauminių motyvų šiuolaikinio lietuvių meno kūriniuose ir traumos terminų analize, bandoma paskutinio dešimtmečio postmodernistinės kilmės reiškinius pervardinti posttotalitarinės situacijos požiūriu, atsekti postmodernistinės ir posttotalitarinės leksikos ryšius - panagrinėti, kaip kintančia menine kalba pristatomuose meno objektuose kuriami specifiniai "trauminiai" vaizdiniai. Kita vertus, dabartinė jaunoji karta į Vakarų meno pasaulį integruojasi jau neturėdama istorinės praeities bei traumų šleifo ir įsitvirtina emancipuotais judesiais atviro pasaulio sąlygomis. [Iš leidinio]Reikšminiai žodžiai: Integracija; Trauminiai motyvai; Lamento; Tapatybė; Metafora; Senamadiškumas; Postkomunizmas; Postmodernizmas; Tuščias signifikantas; Hibridiškumas; Integration; Traumatic motifs; Lament; Identity; Metaphor; Old-fashioned; Post-communism; Post-modernism; Empty signifier; Hybridity.

ENGeopolitical and historic issues are associatively reflected in contemporary Lithuanian artworks, behind which images of identity emerge that are often related to physical and psychological trauma. In the last decade of the 20th century, this kind of victimised awareness in Lithuanian art evolved from open melodramatic forms to ones that were more hidden, demanding deeper analysis. The actual concept of trauma has an interesting non-hermetic, non-isolated aspect, where habit and the "psychology of error" also functions. Analyses of self and ones environment have become more evident from 1998, as well as certain rituals in the presentation of ones identity that have maintained a latent mode of unconscious complaint and victimisation. The painful memory of the past as an impression is being replaced by more detailed analyses and a heavy metaphorical plasticity - the flexible and mobile language of video. Positions marked by the motifs of complaint in the images form the "post-colonialist other" content of the work. Lithuanian artists enter the international art space as representatives of a complicated history, to whom the label of making relations with new communities, similar to the segregated type, is usually applied. The shift from the domination of the factor towards the domination of structure that took place in the post-communist period is also reflected in artistic images of identity - there is a transition from metaphor to metonymies, from the impression to analysis. This also testifies to the importance of political factors in art, which is why we can diagnose the "compound name" or "empty signifier" function performed by works - like certain kinds of political games in the art field. The signs of "empty signifier" in traumatic images allow us to remember the non-hermetic aspect in the trauma discourse in general.But all of this loses relevance with the integration of a young generation of creators into the international art world, which has over the last few years become an equal participant in the exchange of ideas, embodying the hybrid identity of these times. These are usually artists who had spent time at foreign art schools, whose work no longer contains traces of segregation, while the intermingling of technologies and organic elements takes on a fellow-human resonance without any borders. [From the publication]