Intermedialumas ir bioįvairovė XX a. 9-10-ojo dešimtmečio Lietuvos dailėje, arba Dviejų kengūrų pasakojimas

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Collection:
Mokslo publikacijos / Scientific publications
Document Type:
Straipsnis / Article
Language:
Lietuvių kalba / Lithuanian
Title:
Intermedialumas ir bioįvairovė XX a. 9-10-ojo dešimtmečio Lietuvos dailėje, arba Dviejų kengūrų pasakojimas
Alternative Title:
Intermediality and biodiversity in Lithuanian art of the 1980s and 1990s, or A tale of two kangaroos
Authors:
Grigoravičienė, Erika
In the Journal:
Acta Academiae Artium Vilnensis [AAAV]. 2020, t. 99, p. 224-260. Fotografija: tarpininkės vaidmenys kultūroje = Photography: its roles as an intermediary in culture
Subject Category:
LT
Donna J. Haraway; Šarūnas Sauka; Tapyba / Painting.
Summary / Abstract:

LTXX a. 9–10-ajame dešimtmetyje Šarūnas Sauka, Audrius Puipa ir kiti dailininkai, tapybą ir grafiką suartinę su fotografija (ir vaizdus su žodžiais), ėmė dažnai vaizduoti gyvūnus. Atrodo, kad intermediali raiška jiems buvo reikalinga bioįvairovės idėjoms, daugiarūšės draugijos siužetams plėtoti. Fotografija dailininkams pravertė ir praktine plotme, nes, kaip žinoma, gyvūnai nepozuoja. Ši daugialypė XX a. pabaigos dailės hibridizacija nagrinėjama pasitelkus šiuolaikines hibridinio būvio, kolektyvinio mąstymo ir mišrios raiškos teorijas. [Iš leidinio]Reikšminiai žodžiai: Intermedialumas; Gyvūnų vaizdavimas; Donna J. Haraway; Audrius Puipa; Šarūnas Sauka; Tapyba; Dailininkai; Intermediality; Representation of animals; Painting; Painters.

ENIn the 1980s and 1990s, animals were a frequent subject in the works of Šarūnas Sauka, Audrius Puipa and other artists, who merged painting and graphic art with photography and images with words. These artists apparently used intermedial expression as a tool to develop the subject of biodiversity. Photography came in useful for them also from the purely practical viewpoint, as animals do not pose. This multifaceted hybridization of art of the late 20th century is analysed through the prism of the contemporary theories of hybrid existence, collective thinking and mixed media. The aim of the article is to prove that hybrid expression and plots of a multi-species community widespread in the art of the 1980s and 1990s are not a random coincidence. In the 1980s, art critics in Lithuania hardly had anything to say about the relations between human and non-human creatures, and most often overlooked animals represented in art. Today, a rich theoretical discourse on biodiversity as a social and cultural category helps us to think on this subject with paintings. In the chapter “From Liberation to Compost”, the posthumanist tendencies in Lithuanian philosophy, the problematics of the animal turn, and the theories of Gaia (Latour) and Chtulucene (Haraway) are briefly presented. In interpreting the artworks, above all, Sauka’s painting A Negative View from his early photorealistic period (1982), and Puipa’s lithograph The Shearing of the Sheep (1997), the author of the article looks for concrete relations between the discourse on biodiversity and artistic expression. In both works, kangaroos are depicted – at first sight, it seems quite odd and uncommon in the Lithuanian context, but at a closer look, the appearance of these characters seems almost unavoidable.In Sauka’s and Puipa’s art, the opposition between humans and other animals, as well as between painting and photography, is disappearing in a similar way as is the opposition between nature and culture in Latour’s or Haraway’s texts, i. e. very diversely. Speaking about intermedial expression – above all, the interaction of traditional art forms and photography, – its multifaceted character and the large variety its forms comes to the fore. Sauka’s early work represents the general tendencies of photorealism that became distinct in Lithuanian painting circa 1980, the production and reception of photographic works as a theme of works, and appropriation, or repainting (though not reliably proven) of concrete photographic images. In Puipa’s work, the photographic character manifests itself in the redrawing of motifs from press photographs, the production of preparatory photographs for drawings, and photoshoots of tableaux vivants. Animals appearing in the works of these artists also have many different missions – sometimes they are merely a piece of meat for a human dinner, and sometimes, by their powers of agency, they even surpass the human characters. [From the publication]

DOI:
10.37522/aaav.99.2020.11
ISSN:
1392-0316
Subject:
Menotyra / Arts
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Permalink:
https://www.lituanistika.lt/content/93683
Updated:
2022-03-16 15:26:51
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