Performatyvūs veikėjų tinklai Gintauto Trimako kūriniuose

LTStraipsnyje remiamasi nuostata, kad kūrinys neturėtų būti traktuojamas tik kaip semantinis ženklas, atstovaujantis kažkam kitam, esančiam už savo paties ribų, ir jį referuojantis, todėl šį kartą susitelkta į materialiojo fotografijos performatyvumo aspektus. Svarstomos fotografijos ir instaliacijos meno sąveikos, nagrinėjama, kaip įvairūs erdvės ir aplinkos objektai gali prisidėti prie kūrinio atlikimo. Keliama hipotezė, kad įvairių objektų sąveika leidžia fotografijai įgauti papildomus performatyvumo sluoksnius ir išjudinti gamtos–kultūros, objekto–subjekto dichotomijas. Nors išplėsta, įerdvinta fotografija nėra nauja strategija, šiuolaikiniame mene vykstanti disciplininių ribų entropija tampa akstinu apžvelgti vis naujas jų konfigūracijas. Šį kartą tai atliekama analizuojant fotomenininko Gintauto Trimako parodą Atsakymas. [Iš leidinio]Reikšminiai žodžiai: Fotografija; Instaliacija; Tinklaveika; Performatyvumas; Posthumanizmas; Gintautas Trimakas; Fotografai; Parodos; Photography; Installation; Actor-network theory; Performativity; Posthumanism; Photographs; Exhibitions.

ENThe present article revisits Bruno Latour’s Actor-Network theory, as well as Erika Fischer-Lichte’s theory of performative aesthetics, which are employed as a methodical approach to review the works of Lithuanian photographer, photographic artist Gintautas Trimakas, in his exhibition Answer. In the exhibition, the artist chose to present a series of works whose photographic processes took place in the gallery space itself. This decision opened new possibilities to consider the exhibition as a performative action carried out by various networks of actors, starting from local, surrounding objects, such as the space itself, the visitors and architectural elements, and ending with electromagnetic waves generated by the Sun or the rotation of the Earth. All these factors played a role in creating photographic images in the camera-less technique, capturing the light throughout the exhibition. Hence, it is proposed that these actors should be considered co-authors of the work. It is noted that the traditional dual structures of nature / culture, and object / subject have faded away. All the actors in this exhibition have received an equal status; therefore, human as well as non-human agents are recognized to have participated in this performative action. Thus, the visuality of the work should be considered a result of collective effort. Moreover, the positions of a subject and an object have also lost their relevance, since the objects of the exhibition are no longer seen as passive; just like the subjects, they are able to react to the surroundings and be active performers of the work. [From the publication]