Konceptualaus meno teorijos slinktys ir vieta postmodernizme

LTPagrindinis straipsnio tikslas - ištyrus kertinius konceptualizmo teorijos atramos taškus, įsigilinus į socialinę bei kultūrinę terpę, kurioje gimė ši teorija, įvertinti konceptualaus meno reikšmę ir įtaką postmo- derniam diskursui. Probleminiai klausimai, paskatinę šį tyrimą būtų: ar išties konceptualųjį meną galima įsprausti į chronologinius 1965-1975 m. ir itin taupios (vizualizuoto teksto) meno praktikos rėmus? Ar tiesa, kad jo iššūkis buvo nuslopintas duslaus postmodernizmo populizmo? Kokia konceptualizmo idėjų tąsa? Ką bendra turi dabar konceptualiu menu vadinami kūriniai su septintajame dešimtmetyje gimusiais konceptualizmo postulatais? Ieškant atsakymų į šiuos klausimus straipsnyje analizuojami kultūriniu lūžiu vadinamo laikotarpio (XX a. septintojo-aštuntojo dešimtmečio) teoriniai tekstai bei menininkų teiginiai. Šiandienos meniniame diskurse konceptualumo sąvoka - ne retenybė. Konceptualiais vadinami filosofinę mintį teigiantys kūriniai, tam tikros psichologinės mįslės parodų salėse, tiesiog neaiškūs, sunkiai suprantami ar iš kasdienybės išplėšti objektai ekspozicijoje. [Iš straipsnio, p. 529]Reikšminiai žodžiai: Dematerializacija; Estetika; Intertekstualumas; Konceptualizmas; Konceptualus menas; Medžiagiškumo sureikšminimas; Meno istorija; Postmodernizmas; Poststruktūralizmas; Subjektyvus suvokimas; Tekstas; Aesthetics; Conceptual art; Conceptualism; Dematerialization; Emphasis on materiality; History of art; Postmodernism; Poststructuralism; Subjective perception; Text intertextuality.

ENIn this study most of attention is devoted to the changes of art of Western countries since the 7th decade of the 2o'h century: transition of conceptual art theory and its place in postmodern discourse. The texts and thoughts of Sol Le Witt, J. Kosuth, A. Alberro, P. Osborne, J. Beuys, R. Barthes, Julia Kristėva, who investigate the contemporary culture and art in a wide interdisciplinary and intercontinental (North America, South America, Western Europe, Eastern Europe) context, were chosen the object for this part of the research. Conceptualism theorists and practitioners destroyed classical provisions of work’s valuation, implanting a belief that: 1) the idea, even unrealized visually, is an artwork (Sol Le Witt, 1967); 2) perception of an artwork is subjective (Sol Le Witt, 1969); 3) aesthetics is not conceptually related with art (J. Kosuth); 4) participation of a spectator in an art process is extremely relevant (sensually, visually, semantically, etc.) and determination to emphasize political, social and ethical problems (H. Oiticica); 5) every human being is an artist, every action is an artwork (J. Beuys). Such sequence of thinking reveals a cultural turning-point, which occurred in the 8th decade of the 20th century and conditioned democracy trends in the end of the century, which in art arena unfolded through protest actions, development of radical art groups (feministic movement, political/civil art initiatives, manifestations of objective actionism), and resistance to art’s institutionalization.In the works of poststructuralists arises the concept of Text, which is perceived as a message, idea, translation, and myth, the roots of which are in some object or several objects, however it is an independent and always changing concept (depending on the perceiver’s experience). Text is the assemblage of such signs as words, sounds, feelings, and interpretations. Roland Barthes in his article From Work to Text, 1971 unfolds the specificity of Text by analyzing the relation of literary work as the Work (as well as a traditional artwork based on aesthetics criteria) and as the Text (in this case, the work of new ideological composition). In R. Barthes’s view the Work is a fragment of substance, taking a certain position in a bookshelf (expositional space), whereas the text is a methodological field. While the Work is held in the hand, the Text is held in language: it exists only as discourse. The Text cannot be apprehended as part of a hierarchy or even a simple division of genres <...>. The Text is radically symbolic. A work whose integrally symbolic nature one conceives, perceives, and receives is a Text. The Text is plural. The Author in the Text participates not as a host, but as a guest, proposes R. Barthes, who agrees with the concept of subjective perception. The Text asks the reader for an active collaboration, not for a pleasure of consumption. The Text decants the work from its consumption and gathers it up as play, task, production, and activity. The Text moves historical, cultural and psychological view of a reader as well as his values and memories, provokes crisis of his relation with language (the notion is similar to the description of abject in Julia Kristeva’s Powers of Horror: An Essay on Abjection (1982), where the abject is related to human reaction (horror, vomit), arising in the presence of the frightening loss of meaning. Abject is a weight of meaninglessness, which crushes).The notion of intertextuality introduced also by Julia Kristeva refers to texts in terms of two axes: a horizontal axis connecting the author and reader of a text / beholder of visual artwork, and a vertical axis, which connects the text / artwork to other texts / artworks. Uniting these two axes are shared codes: every text and every reading / perception process depends on prior codes and similar to conceptualist thinking, - on subjective perception. Poststructuralistic attitudes of text and intertextuality theories as well as simultaneous propositions of conceptualists emphasize the same problematic field - pluralistic attitudes, demand for subjective perception, (selfjcriticism and spiritual resistance / purification. Even though minima- listic and anti-substantial intention lost its previous strength in contemporary visual art practices, the main theoretical axes of conceptualism (priority of the concept instead of form; subjectivity of perception, detachment of aesthetics and art, ambition to emphasize political, social and ethical problems) were established as key points of postmodern art discourse. [From the publication p. 585-587]