Kūrybinio identiteto strategavimas: kaip būti pripažintam ir išlikti savimi. Rimtauto Vincento Gibavičiaus atvejis

LTRimtautas Vincentas Gibavičius (1935-1993) - vienas iš autoritetingiausių vėlyvojo sovietmečio Lietuvos dailininkų. Užėmęs tvirtas pozicijas Dailininkų sąjungoje, buvęs daugelio meno tarybų narys, kaip knygų dailininkas ir ekspertas bendradarbiavęs su didžiausiomis Lietuvos leidyklomis. Dvigubos realybės pavyzdys - „savas“ oficialiuose visuomenės sluoksniuose ir sistemai priešgyniavusių menininkų bendruomenėje. Garsėjęs kaip plačios erudicijos ir profesionalumo. Meistriškai sugebėjęs derinti nesuderinamus dalykus: sugyventi su sovietine sistema, išsaugoti savąjį kūrybinį identitetą ir vertybines nuostatas. Tiriant gausius sakytinėje istorijoje užfiksuotus liudijimus apie Rimtauto Gibavičiaus autoritetą kultūriniame lauke, gilinantis į išlikusius negausius vertybines dailininko nuostatas atspindinčius užrašus, remiantis istoriko Viliaus Ivanausko tyrimais apie rašytojų kaip kūrėjų situaciją sovietmečiu, ieškoma atsakymo, kaip tai buvo įmanoma. Straipsnyje gvildenama (iš)buvimo sovietinėje sistemoje strategija, balansuojanti tarp visuomeninio reikšmingumo ir asmeninio pasaulio puoselėjimo. [Iš leidinio]Reikšminiai žodžiai: Kolektyvinis disciplinavimas; Lietuvos dailininkų sąjunga; Menininkas; Rimtautas Vincentas Gibavičius; Socialiniai ryšiai; Sovietmetis; Artist; Collective disciplining; Lithuanian Artists' Association; Rimtautas Vincentas Gibavičius; Social ties; Soviet period.

ENRimtautas Vincentas Gibavičius is one of the most authoritative Lithuanian artists of the late Soviet period. He had a solid position in the Artists Association, sat on a number of arts councils and collaborated with leading Lithuanian publishing houses as a book illustrator and expert. An "insider" both among the official ranks and artists challenging the system. He was known for his extensive expertise and professionalism. The article asks how the contrasting traits such as the posture of a western artist and Soviet recognition combined in the artist's personality. The study incorporates memories of the contemporaries of the artist and remaining sparse notes reflecting the moral standards of the artist within the context of existing sovietology studies in Lithuania. In many cases, memories illustrate the position outlined in the monograph by Vilius Ivanauskas Įrėminta tapatybė: Lietuvos rašytojai Tautų draugystės imperijoje on the situation of the artist in Soviet Lithuania (2015). That study became the methodological and structural basis for the article. Its starting point is the idea of Ivanauskas that artists in Soviet times were mostly affected by three contrasting forces: constant collective disciplining, aspiration to have own position and need for creative success (Ivanauskas, 2015, p. 2 3). That idea is supported by the description by Aušra Marija Sluckaitė Jurašienė - a diplomatic maverick who had quite close ties to offspring of the Soviet elite - describing the importance of the social environment and social ties.These factors underlying the position of the artist are the cornerstones of the text which is divided into four sections: Social Environment and Social Ties; Collective Disciplining, Need to Have Own Position; and Creative Success. The article reaches the main conclusion that diplomacy was intrinsic to both the personality and creative work of Gibavičius. First, he maneuvered between the applied and visual arts facilitating the development o f the geometric composition expression. Second, the artist relied on aesthetics combining precise professional execution and decorative representation which is hard to decode in order to mask the true creative objectives related to focusing on formal creative objectives triggered by Western modernism. The importance of ties with people close to controlling bodies reflected the intertwining personal and public space of the Soviet society. Collective disciplining by these bodies would reach most people through a network of personal connections. Gibavičius had direct ties with the representatives of powerful authorities which he used as needed as a tool to broaden the boundaries of freedom. However, the seties did not affect his moral standards and gradually boosted his creative capacities. [From the publication]

• Menotyra / Arts
• Istorija / History